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SIR  WTTT,T\M  STIRLJXC  111.   Z.in.   1  l      :    : 

:  -     1    VicE-Pas  .:  : 


hz:i.v  :-: : 
a17j.i1  asflaxd,  1:::. 

" iiiii :  i 

.7:1: 


TI/E  HOLBEIN SOCIETYS  FAC-SIMILE  REPRINTS. 


THE 


THEATRE  OF  WOMEN. 

Designed  by  JOBST  AMMON. 


EDITED  BY 

ALFRED    ASPLAND. 


^ublisljco  for  tfjc  lfe?olbrtn  Sorirtu  bu 

A.  BROTHERS,  St.  Anri 's  Sqnare,  Manchester ;   and 

TRUBNER  &  CO.,  Paternoster  Row,  London. 

M.DCCC.LXXIl. 


6i-       vl 


GYN/ECEUM; 


R, 


THE    THEATRE    OF  WOMEN: 

W  HEREIN    MAV    BE   SEEN 

THE  FEMALE  COSTUMES  OF  ALL  TIIE  PRINCIPAL  NATIONS, 
TRIBES,   AND  PEOPLES  OF  EUROPE, 

OF    WHATSOEVER    RANK,    OROF.R,    ESTATE,    CONDITION,    PROFF.SSION, 

OR    AGE. 

With  neu>  and  inost  exquisite  figures  unequalled  hitherto  for 

beauty. 

DESIGNED    BV    IOBST    \M.\luN 

Attached   to    each    figure   is   an   eight-line   stanza    by 
Francis  Monius  of  Bruges. 


A  work  prepnred  both  in  commendation  of  the  female  sex,  and  for  the  especial 

gratification  of  such  as  by  their  manner  of  ordinary  life,  or  from 

other  causes,  are  hindered  from  distant  travel,  but  at  the 

same  time  take  pleasure  at  home  in  the  costume 

of  various  people,  which  is  a  silent 

index  of  their  character. 


A.D.     I586. 

sfnmhfort :  |hiblisbcb  at  tbr  cost  of 
S  1  G  ISMUND     F  I.  V  E  R  \  BEN  D  l 


INTRODUCTION. 


w 


ITH  Blake,  with  thc  pupils  of  Bewick,  and  the 
contcmporaries  of  Turner,  the  English  school  of 
engraving  died  out.*  Thenceforth  those  who  might  have 
continued  it  successfully,  devoted  themselves  to  thc  easel, 
to  drawing  for  book-illustration,  or  to  the  profitable  supcr- 
intendence  of  those  mechanical  works  by  which  the  public 
are  madc  acquainted  with  the  works  of  the  artists  of 
the  day. 

The  explanation  is  not  difficult ;  the  money  rewards 
were  slight,  the  honours  few  ;  there  was  no  court  patronage, 
and  no  blue  ribbon  from  thc  Academy  ;  the  work  was 
injurious  to  the  health  and  damaging  to  the  sight.  Then, 
again,  the  increase  of  wealth  during  the  last  half-century, 
and  the  consequent  large  demand  for  engravings,  instead 

*  A  statement"  so  general  must  of  course  not  be  understood  literally.  A 
few  artists  working  on  copper  still  linger  amongst  us  ;  Mr.  Samuel  Cousins 
latterly  working in  line,  scarcely  sustains  his  reputation  in  mezzotint.  Graceful 
as  is  the  engraving  of  the  Minuet  after  Millais,  it  cannot  for  a  momcnt  be 
compared  with  the  scraping  of  the  Maid  and  the  Magpie.  This  betrays 
genius  ;  the  figure  of  the  Maid  is  a  creation,  finer  in  pose  and  modelling 
than  Landseer's  painting.  To  realize  fully  the  stimulus  which  Landseer  has 
given  to  English  engraving,  we  must  go  back  a  generation  and  recall  the 
works  of  this  great  artist  before  he  adopted  a  theatrical  treatment  to  satisfy 
the  debased  requirements  of  modern  picture-buyers,  and  contemplate  the  two 
finest  works  vvhich  ever  came  from  his  easel,  the  Shepherd's  Chief  Mourner 
and  the  Shepherd's  Grave.  Visitors  to  the  Manchester  Art  Treasures  will 
not  easily  forget  the  latter.  Over  both  these  pictures  the  mcmory  lingers 
tenderly,  and  it  is  fame  enough  for  the  late  George  Phelps  Gibbon  to  say 
that  he  has  rendered  with  absolute  fidelity  tlie  pathetic  sentiment  of  the 
master,  and  that  the  executive  skill  is  scarcely  inferior  to  tliat  shown  m  the 
finest  of  modern  prints. 


viii  INTRODUCTION. 

of  fostering  the  art  has  hastened  its  downfall.  The  multi- 
plication  of  copies,  the  large  number  of  proofs  struck  off 
before  the  prints  appear,  has  necessitated  the  use  of  steel 
and  the  introduction  of  a  variety  of  executive  methods, 
which  produce  representations  of  the  originals  without 
their  spirit  or  refinement.  The  same  cause  which  has 
created  so  great  a  demand  for  engravings,  has  given 
unusual  activity  to  the  publishing  trade,  and  as  nearly 
every  book  and  magazine  must  be  illustrated,  the  demand 
for  woodcutting  is  proportionably  great.  Designing  on 
wood  is  a  special  art,  requiring  special  knowledge  and 
long  practice,  and  the  designers  were  not  to  be  found  : 
Jackson  says  that  at  one  period  there  was  only  one  in 
England  capable  of  drawlng  effectively  on  wood ;  but 
whether  the  men  could  be  found  or  not,  the  work  had  to 
be  done,  as  woodcuts,  being  capable  of  almost  unlimited 
multiplication,  were  necessary  for  cheap  popular  works. 
The  capacity  of  wood  is  limited.  It  can  express,  perhaps 
better  than  copper,  the  strong  contrasts  of  light  and 
shade,  but  trade  necessities  required  that  it  should  attempt 
to  do  the  work  of  copper  ;  the  tint  tools  were  brought  into 
full  use,  and  the  result  was  an  imperfect  imitation  ;  the 
value  of  the  process  is  gone,  and  a  poor,  tame,  and  for 
art  purposes,  a  worthless  plate,  is  produced. 

A  book  published  fifty  years  ago  by  Savage,  on  Deco- 
rative  Printing,  illustrates  these  statements.  He  employed 
some  of  the  best  artists  of  his  time  to  furnish  designs  and 
put  them  into  the  hands  of  the  best  woodcutters.  Some 
of  them  are  in  imitation  of  mezzotint  engravings,  and 
some  of  water-colour  drawings.  The  former  are  fiat  and 
spiritless,  failing  to  give  an  idea  of  the  manner  of  the 
artist  designer ;  the  latter,  although  laboriously  worked 
with  many  blocks,  are  so  coarse  and  utterly  bad  as  to 
be  beneath  criticism.  Amongst  the  engravings  where 
wood  has  been  put  to  its  legitimate  use,  we  have 
one  cut  by  Charlton  Nesbit,  and  designed  by  Thurston, 
of  singular  interest.  It  is  of  large  size,  being  j\  inches 
by  5.  It  represents  a  woody  scene,  with  Rinaldo  and 
Armida   in    tlie    foreground,   and  but  for  some  imperfect 


INTRODUCTION.  ix 

work  in  the  figures,  would  have  been  one  of  the  finest 
woodcuts  ever  executed  in  this  country.  If  left  to  himself, 
Nesbit  would,  with  his  exccutant  powers,  have  overcomc 
any  difficulties,  but  the  failure  in  the  figures  is  fully 
explained  by  the  naif  statement  of  Savage — "  Mr.  Nesbit 
had  the  benefit  of  Mr.  Thurston's  observations  in  his 
retouchings." 

I  wish  we  could  claim  for  our  countrymen  the  woodcut 
of  Vanity  Fair  in  Mr.  Shields'  illustrations  to  Pilgriiris 
Progrcss.  It  is  y\  by  4  inches  in  size.  The  figures  are 
innumerable,  and  the  German  engraver  has  done  full 
justice  to  the  genius  of  the  English  designer.  It  certainly 
is  one  of  the  finest  wood-engravings  of  recent  date.  Mr. 
Shields  designed  plates  to  illustrate  a  small  edition  of  the 
History  of  thc  Plaguc,  and  photographs  of  the  wood 
blocks  before  cutting  were  fortunately  taken  :  they  were 
ruined  by  the  engraver.  The  drawing  of  Solomon  Eagle 
has  every  quality  demanded  by  the  most  scrupulous  critic  ; 
and  if  the  engraving  had  been  at  all  commensurate  with 
the  design,  we  should  have  had  an  important  work  of  art. 

In  stating  that  we  have  lost  the  art  of  engraving  in 
England,  it  must  not  be  inferred  that  the  observation 
applies  to  another  branch  of  the  graphic  art — etching. 
With  the  needle  in  the  hands  of  Mr.  George  Cruikshank, 
Mr.  Samuel  Palmer,  Mr.  Haden,  Mr.  Millais,  or  Mr.Whistler, 
the  collector  of  art  gems  will  never  be  at  a  loss  to  find 
occupants  for  his  portfolio. 

It  is  proposed  in  this  volume  of  the  HOLBEIN  SociETY, 
to  give  a  specimen  of  the  German  engravers  of  the  six- 
teenth  century.  Amongst  thcm  Jobst  Ammon  held  a 
distinguished  place,  and  his  Book  of  Costumes  has  been 
selected  as  affording  a  good  example  of  his  work.  Not- 
withstanding  his  celebrity  and  industry  as  an  artist, 
painting,  as  he  is  believed  to  have  done,  011  glass  and 
canvas,  engraving  011  copper,  and  designing  on  wood,  and, 
as  far  as  we  know,  outstripping  all  cotemporary  German 
artists,  we  learn  nothing  of  his  domestic  life.  Albert 
Durer,  who  preceded  him,  had  a  history  bcyond  his 
studio ;    he    was    the    chief    magistratc    of    the    town    of 

b 


x  INTRODUCTION. 

Ammons  adoption  ;  he  was  the  chosen  friend  and 
constant  correspondent  of  the  most  distinguished  men 
of  the  day,  amongst  whom  were  Erasmus  and  Luther, 
and  he  was  moreover  married  to  a  handsome  shrewish 
wife,  who  embittered  his  domestic  life  and  shortened  his 
days.  His  public  life,  his  voluminous  correspondence, 
and  the  pranks  of  his  unamiable  consort,  furnished  ample 
materials  for  his  biographers ;  but  Ammon's  life  was 
played  out  in  his  studio,  and  we  gather  little  from  co- 
temporary  history  to  mark  his  career. 

All  that  we  know  is,  that  he  was  born  in  Zurich  in 
1 539,  removed  to  Nuremberg  in  1560,  and  after  thirty 
years  of  untiring  devotion  to  art,  died  in  1591.  He  is 
described  as  one  of  the  Little  Masters,  from  the  fact  of 
his  engravings  being  chiefiy  of  a  small  size,  and  was  so 
industrious,  that  one  of  his  apprentices,  George  Keller, 
said  that  if  all  his  drawings  made  during  the  four  years 
he  was  with  him  had  been  collected  together,  they  Avould 
have  filled  a  waggon. 

He  does  not  seem  to  have  contributed  to  the  literary 
portions  of  the  works,  for  the  illustration  of  which  he 
drew  designs  ;  thus,  his  Book  of  Tradcs  was  brought  out 
under  the  title  of  Haus  Sachs  Correct  Dcscription  of  all 
Ranks,  Arts,  and  Tradcs,  with  a  German  text,  in  4to. 
Hans  Sachs  was  a  most  voluminous  writer,  and  was  held 
in  great  esteem  by  his  cotemporaries  as  a  man  of  letters 
of  versatile  power.  Another  edition  was  brought  out  in 
the  same  year,  in  i2mo.,  with  the  text  in  Latin. 

John  Evelyn  was  born  within  thirty  years  of  Ammons 
death,  and  though  professing  and  desiring  in  his  Scnlptura 
to  give  an  exhaustive  catalogue  of  the  engravers  of  mark, 
dismisses  our  artist  with  two  short  notices,  misnaming  him 
as  often  as  he  mentions  him.  This  reticence  is  not  to 
be  regretted,  as  Evelyn  was  credulous  and  deficient  in 
research.  So  eager  was  he  to  be  exhaustive,  that  he 
began  the  history  of  engraving  with  the  specimens 
011  the  shelves  of  our  first  parent  Adam,  and  stated, 
on  the  authority  of  Thomas  Aquinas,  in  his  work 
Dc  Entc   ct   Esscntia,    that    Adam    described  a  book  on 


INTRODUCTION.  xi 

plants  in  his  possession, — nay,  that  it  may  scarcely  be 
contradicted  that  he  had  a  complete  series  of  natural 
history  and  other  works  besides.  He  hinted  that  his 
good  genius  the  angel  Razael  may  have  helped  him  a 
bit,  but  whatever  assistance  he  derived,  he  alone  was  equal 
to  the  occasion. 

The  next  author  of  note  mentioning  Ammon  is  the 
French  engraver  Papillon,  who  published  in  1760.  his 
Trcatise  011  Wood  Etigraving.  The  illustrations,  though 
carelessly  printed,  exhibit  skill  and  power.  He  not 
unfrequently  blunders  in  his  art  history,  and  makes  out 
two  Jobst  Ammons,  one  of  Zurich  and  one  of  Nurem- 
berg,  from  his  ignorance  of  the  removal  in  1560. 

In  Germany,  able  writers  came  to  the  front ;  Heinecken, 
between  1768  and  1790,  published  at  Dresden  and  Leipsic 
several  important  works  on  engraving,  and  at  the  close  of 
the  last  century,  and  during  the  first  quarter  of  the  present, 
Adam  Bartsch  wrote  voluminously  on  art.  Dr.  Dibdin, 
in  his  Tour  in  France  and  Gcrmany,  bears  honourable 
testimony  to  Bartsch's  skill  and  industry  as  an  artist, 
and  to  his  accuracy  as  a  writer,  speaking  of  his  Pcintrc 
Graveur,  as  "  a  literary  performance  of  really  solid  merit 
and  utility." 

English  writers,  whose  works  are  authoritative,  such 
as  William  Young  Ottley,  Jackson,  and  Chatto,  quote 
largely  from  Heinecken  and  Bartsch,  and  each  of  them 
furnishes  additional  matter  in  aid  of  the  history  of  wood- 


engraving. 


In  reference  to  the  works  of  Ammon,  Jackson  says, 
"  His  style  bears  considerable  resemblance  to  that  of  Hans 
Burgmair,  as  exemplified  in  the  Triumphs  of  Maximilian." 
As  Burgmair  was,  after  Durer's  death,  the  first  wood- 
designer  of  his  age,  and  ranks  only  second  to  the  illus- 
trious  Albert,  this  assigns  a  very  distinguishcd  position  to 
Jobst  Ammon. 

In  the  Book  of  Costumes,  hc  probably  only  drew  thc 
designs  on  the  wood,  and  the  cunning  fingers  of  his  pupils 
cut  them.  Masterly  as  they  are,  they  exhibit  some  of  the 
stiflfness  of  the  German  school,  from  which  even  Durers 


xii  INTRODUCTION. 

works  were  not  free.  The  eight-line  verses  accompanying 
each  figurc  wcre  composed  by  Francis  Modius,  a  distin- 
guished  commentator  of  the  time,  and  the  preface  vvas  the 
work  of  Sigismund  Feyerabendt.  The  Feyerabendts  had 
been  for  generations  scholarly  publishers  at  Frankfort-on- 
the-Maine.  If  Papillon  could  be  trusted,  we  might  say 
that  the  different  branches  of  the  family  were  celebrated 
for  painting,  engraving,  and  for  original  works  in  prose 
and  poetry,  but  as  Papillon's  authority  is  so  questionable, 
we  must  content  ourselves  with  saying  that  Sigismund 
Feyerabendt  was  known  as  an  author  and  artist,  now 
illustrating  bibles  with  woodcuts,  now  editing  learned 
works. 

However  imperfect  the  above  notice  of  Ammon,  of  his 
art,  and  of  his  literary  assistants,  the  subscribers  to  the 
HOLBEIN  SOCIETY  may  trust  to  the  faithful  rendering  of 
the  fac-simile  of  the  volume,  under  the  skilful  hands  of 
Mr.  BROTIIERS,  and  it  only  remains  to  express  our  grate- 
ful  sense  of  obligation  to  Mr.  RlCHARD  SMITH,  of  Balliol 
College,  Oxford,  for  the  translation  of  the  preface. 

The  following  list  of  Ammoirs  works  is  taken  from  a 
fragment  of  a  Dictionary  of  Engravers,  published  in  1831, 
by  William  Young  Ottley.  He  broke  down  when  he  had 
reached  the  letter  B,  finding  life  too  short  for  the  enter- 
prise  he  designcd.  Ottley's  list  does  not  contain  the  rarest 
of  Ammon's  books, — Charta  Lusoria  Jodoci  Ammouni,  a 
4to.  volume,  published  at  Nuremberg  in  1588.  It  con- 
tained  fifty-five  woodcuts  of  cards,  with  illustrative  verses 
by  the  Imperial  Poet  Laureate,  J.  H.  Schroter.  Although 
termcd  Charta  Lusoria,  they  were  evidently  not  meant 
to  play  with.  In  arranging  a  catalogue  of  works  brought 
out  by  Ammon,  much  care  and  discrimination  is  necessary, 
as,  after  his  death,  we  find  his  woodcuts  used  by  various 
German  publishers  to  decorate  thcir  books. 

Alfred  Aspland. 

DlKENFIELD,  May  2J,   lSj2. 


LIST   OF  AMMON'S  WORKS. 


E  T  C  H  I  N  G  S. 


i.  Celebrated  Women  of  the  Old  Testament  ;  a  set  of  12  pieces, 
arched  at  top,  with  inscriptions.  //.  3§,  w.  2§.  (a)  '  Eva  die  Geberin. 
Jobst  Aniiiiaii  fecit.  Steffan  Iierman  exc.'  (/')  '  Sara  die  gesegnet.' 
(<)  'Rebecca  die  gehorsam.'  (d)  '  Kahel  die  holdtsellig. '  (c)  'Lea 
die  geduldig.'  (/)  '  Jahel  die  redlich.'  (g)  '  Ruht  die  gnetig.'  (//) 
'  Miclial  die  gethreu.'  (i)  '  Abigael  die  vernunfftig.'  (/•)  'Judith 
die  Messig.'  (/)  '  Hester  die  Sanfftmiitig.  I.A.  (w)  'Susanxa 
die  Keusch.'     (B.  1.) 

2.  The  twelve  Months  of  the  Year,  represented  by  the  figures  of  men 

of  different  conditions,  12  pieces  of  an  oval  form.  //.  3^,  -ui.  3I.  The 
name  and  number  of  the  month  is  towards  the  top  of  each,  and  the  mark 
I.A.  near  the  bottom.  The  first  has  :  'Jo.  Ammanfe.  St.  Herman 
ex.'  (13.  3.)  I  do  not  agree  with  Bartsch  in  supposing  the  sct  of  prints 
of  the  Apocalypse,  described  by  him  under  No.  2,  and  markcd  with  a 
G.  and  a  P.,  to  be  by  Jobst  Amman. 

3.  The  Employments  of  the  twelve  Months  of  the  Veak,  12  pieces, 

curved,  which,  when  joined  together,  form  a  circular  frieze,  fitted  to 
decorate  the  edge  of  a  large  dish  or  of  a  shield.  The  initials  I.  A.  at 
the  top  of  each.  They  contain  extensive  compositions  of  small  figurcs. 
/.  at  top  iof,  at  bottom  9§,  //.  2%.     (B.  4. ) 

4.  The  five  Senses,  represented  by  female  figures,  in  ovals,  which  arc  sur- 

rounded  by  ornaments  ;  wilh  tille,  6  pieccs.     The  title  represents,  by 
animals,   the  four  Elemenls,    and   has   on    a  tablct,   at   bottom  :   ' ., 
Aminanf:   St.  Ilerman  cx.  15S6.'  The  figures  are  etched  by  J.  Ainman  ; 


xiv  LIST  OF  AMMON'S    WORKS. 

the  surrounding  ornaments  were  probably  added  with  the  graver  by 
S.  Herman.  The  names  of  the  Senses  are  at  the  bottom  of  the  plates, 
in  latin.     h.  $\,  w.  2§.      (B.  5.) 

5.  Various  Figures  of  Warriors,    in  different   attitudes   and   costume, 

three,  or  four,  upon  a  plate ;  8  pieces  ;  /.  4|,  by  2J,  etched  with  great 
intelligence  and  delicacy.  The  first  has  two  warriors  standing,  one  on 
each  side  of  a  cartouch,  on  which  is  inscribed  :  '  Jost  Aman  Inventor 
Norimbcrg.    Stephan.  Herman  excusit  Onnoltzbachensis.    1590-'   (B.  6.) 

6.  Soldiers  AND  others  Fighting,  whether  with  swords  or  staves,  8  pieces, 

marked  I.  A.  On  the  first  is  a  little  herald,  between  a  drummer  and  a 
fifer.     /.  3§,  h.  2§.     (Heinecken. ) 

7.  Artisans  of  different  Denominations,  fighting,  armed  with  the 

implements  of  their  art.  12  pieces,  ovals,  /.  35,  h.  2\.  On  the  first : 
'  Eben  kommt  mich  an,  &c.'  (Heinecken.)  Bartsch  describes  five  of 
the  set,  each  marked  I.A.  (a)  A  painter  with  his  easel-stick  and  a 
dauber  with  a  large  brush.  (b)  Two  goklsmiths,  one  armed  with  pincers 
and  the  other  with  a  pair  of  bellows.      (r)  Two  sculptors  with  drills. 

(d)  A  blacksmith  with  a  large  file,  and  an  apothecary  with.a  syringe. 

(e)  Two  men,  one  with  a  brush,  the  other  with  something  resembling  a 
ham.     (B.  7.) 

8.  A  set  of  Huntings,  8  pieces.     /.  6,  h.  i|.     Under  the  first,  representing 

hare-hunting :  ' Jobst  Aman  fe.  Stefan.  Herman  ex.'  Each  has  the 
initials  I.  A.  and  the  cypher  of  Herman,  composed  of  the  letters  H.S. 
(B.  8.) 

9.  The    Liberal    Arts,    7    pieces.      /.   8J,    h.    3J.    engraved    in    1577. 

(Heinecken.) 

10.  The  Elector  and  other  Princes  of  Bavaria,  with  their  Wives, 

standing  figures  ;  80  plates,  etched  by  Jobst  Amman,  and  for  the  most 
part  bearing  his  initials.     h.  7f,  -w.  5f.     (B.  9.) 

11.  Fortraits    of    the   Kings   of   France,   42  pieces.     //.  4f,  w.  2,1; 

20  others,  completing  the  set,  being  by  Virgilio  Solis.  The  series 
begins  with  Pharamond  and  ends  with  Hemy  III.,  each  print  containing 
the  bust  of  the  monarch  in  a  medallion,  and,  in  a  compartment  under- 
neath,  some  story  of  his  life.     Thcy  were  published  with  a  title  on  which 


LIST  OF  AMMOWS    WORKS. 


xv 


are  tvvo  winged  genii,  holding  a  laurel  crown  over  tlie  arms  of  France, 
and  this  inscription  :  '  Effigies  regum  Francorum  omnium,  &c.  Caela- 
toribus  Virgilio  Solis  Noriber :  et  Justo  Amman  Tigurino  Noribergae, 
157&  In  Offkina  Catharinae  Theodorici  Gerlachii  relictae  Viduae,' 
&c.  in  4to.     (B.  10.) 

12.  '  Perspectiva  Corporum  regularium  ;  Das  ist,  &c.  That  is,  examples 
of  the  five  regularly-formed  bodies,  whereof  Plato  writes  in  his  Timaeus, 
and  Euclid,  in  his  Elements,  &c,  brought  very  ingeniously  into  per- 
spective  .  .  .  .  by  a  method  never  before  seen  in  use,  by  Wenceslas 
Jamitzer,  Citizen  and  Goldsmith  at  Nuremberg,  1568.'     In  fol. 

This  work  contains  50  plates ;  viz.  43  of  studies,  and  6  ornamented  titles. 
besides  the  general  title  of  the  book  ;  tlie  whole  etched  by  Jobst  Amman. 
The  former  were,  of  course,  done  by  him  from  the  designs  of  Jamitzer ;  but 
the  latter,  which  show  much  fancy  and  are  etched  with  great  delicacy,  appear 
to  be  entirely  his  own.  The  plates  are  not  numbered.  The  Title  of  the 
Work  (n)  is  printed  with  moveable  characters  within  an  oval  frame  or  car- 
touch,  surrounded  by  four  allegorical  female  figures  witli  attributes,  and  the 
names  :  '  Arithmetica,  Geometria,  Architectura,  Perspectiva,'  and  two  winged 
infants  or  genii :  '  Inclinatio,' and  '  Diligentia.'  This  plate  measures,  h.  10J, 
10.  7f,  and  has  the  initials  I.  A.  at  an  inch  from  the  bottom  ;  though  they 
escaped  the  eye  of  Bartsch.  The  remaining  plates  are  a  little  smaller,  being 
from  9J  to  10  by  6f  to  7.  The  six  other  Titles  or  Frontispieces  are  prefixed 
to  the  different  classes  of  studies  into  which  the  work  is  divided.  Tiie  Fik.st 
(b)  is  intended  to  represent  the  Element  of  Fire  ;  in  the.  centre  is  a  large 
flame  issuing  from  a  vase  at  bottom  ;  and  around  it  are  children  with  lamps 
and  lanterns,  fiery  dragons,  and  other  accessorial  introductions.  It  is  marked 
under  the  vase,  I.  A.,  and  is  prefixed  to  the  first  four  plates  of  studies,  marked 
at  top  :  A.  (c)  The  Second  represents  the  Element  of  Air.  In  the  middle 
is  a  large  pair  of  bellows,  and  around  are  cupids  with  appropriatc  attributes, 
birds,  butterflies,  &c.  It  has  the  initials  I.A.  at  bottom  ;  and  is  prefixed  to 
the  next  four  plates  of  studies,  marked  E.  (</)  The  TniRD  has  a  large  leaf 
in  the  centre,  around  which  are  cupids  with  baskets  of  fruit,  &c.  ;  this  piece 
denoting  the  element  Earth.  The  initials  I.  A.  are  at  the  bottom  of  a  little 
basket  on  the  left  of  the  print,  which  is  placed  before  four  plates  of  studies 
marked  I.  (e)  The  Fourth  represents  the  Element  of  Water;  a  1 
shell  occupies  the  centre,  and  around  arc  cupids  with  vases,  fish  of  vai 
kinds,  &c.  The  letters  I.  A.  are  upon  a  trident,  on  the  left,  and  this  piece 
prefixed  to  four  plates  of  studies  marked  O.  (/')  THE  FlFTH  has  in  the 
centre  a  large  circle  of  light,  above  which  arc  thc  sun  ami  a  large  star,  and 
on  cithcr  side  are  three  cupids  with  sphcres,  quadrants,  and  othei  mical 


xvi  LIST  OF  AMMOWS   WORKS. 

instruments.  On  the  right  near  the  bottom  are  the  initials  I.  A.  This 
piece  is  followed  by  four  plates  of  studies  marked  V.  (g)  The  Sixth,  ancl 
LAST  Title,  appears  to  be  intended  to  denote  the  ordinary  employments  of 
mankind  in  this  sublunary  state.  At  top  are  three  infants,  one  of  them  in  a 
military  dress  beating  a  drum  ;  and  below  are  two  others,  one  of  which  has 
a  bow.  The  initials  I.  A.  are  in  the  middle  at  bottom.  This  plate  and  the 
twenty-three  plates  of  studies  which  follow  it,  and  complete  the  work,  are 
oblongs.  /.  10,  h.  7.  Having  spoken  of  the  ornamented  titles,  I  shall  add 
now  a  few  words  concerning  the  other  plates. 

The  first  tvventy  consist  of  perspective  views  of  the  five  regular  solids,  and 
of  various  forms  fancifully  derived  from  them ;  each  plate  containing  six 
designs  in  circles.  The  subject  of  the  first  four  plates,  marked  A,  is  the 
Triangular  Pyramid  ;  of  the  second  four,  marked  E,  the  Octohedron  ;  of 
the  third,  I,  the  Cube  ;  of  the  fourth,  O,  the  Icosahedron  ;  (two  of  these 
having  the  initials  I.  A.  with  the  date  1567,  and  a  third  the  initials  only); 
and  the  fifth,  V,  represent  the  Dodecahedron.  The  artist's  plan  appears  to 
have  been,  first,  to  represent  the  figure  itself,  and  such  forms  as  are  produced 
by  cutting  parts  from  it ;  secondly,  to  represent  the  figure  itself,  and  its  deri- 
vatives,  in  another  point  of  view  ;  thirdly,  to  show  such  forms  as  may  be 
obtained  by  combining  two  of  the  simple  figures  in  such  a  way  as  that  the 
angles  of  the  one  should  proceed  from  the  centres  of  the  sides  of  the  other. 
The  manner  in  which  the  complex  figures  have  been  obtained  from  the  simple 
ones  can,  for  the  most  part,  be  easily  traced  ;  but  sometimes,  in  consequence 
of  the  arbitrary  sections  made  in  them,  this  becomes  difficult. 

Of  the  twenty-three  plates  at  the  end,  the  first  two  are  marked  A  ;  the 
second  two,  E ;  the  third,  I  ;  the  fourth  O  ;  and  the  fifth,  V  ;  and  these  ten 
plates  represent  perspective  views  of  the  figures  above  named,  hollowed  out 
and  perforated ;  the  remaining  thirteen  being  devoted  to  fanciful  delineations 
of  the  sphere,  the  cone,  and  the  wheel.     (B.  II.) 

A  second  edition  of  this  curious  set  of  prints  was  published,  with  two  leaves 
of  letter-press,  at  Amsterdam,  in  161S,  under  the  title  of  '  Sintagma,  in  quo 
Varice  Eximiaque  corporum,'  &c. 

13.  Military  Suejects,  &c,  15  pieces,  k.  I4f,  w.  iof,  representing  marches 
of  troops,  encampments,  battles,  on  land  and  at  sea,  &c.  The  plates  are 
marked  with  numbers  referring  to  some  book  for  which  they  were 
intended.  Six  of  these  etchings  bear  the  initials  of  Jobst  Amman,  and 
one  piece  has  the  date  1572.     (B.  12.) 


LIST  OF  AMMON'S   WORKS.  xvii 


ETCHINGS— SINGLE  PIECES. 

14.  The   Portrait  of  Gaspar  de   Coligni,    half-length,   turned  a  little 

towards  the  left,  in  an  oval  surrounded  by  ornaments  and  allegorical 
figures.  At  top  :  '  Effigies  Gasparis  de  Coligni,  D.  de  Castilione, 
Amiralis  Francice.'  In  a  cartouch  below  the  massacre  of  St.  Bartholo- 
mew's,  Aug.  24,  1572.  At  bottom  :  '  Fecit  Norivibergae  Jost  Amnniu 
Tigui-inus  1573.'     h.  14^,  w.  IO§.      (B.  17.) 

15.  Frederick,  Bisiiop  of  Wurzbourg,  half-length,  turned  towards  the 

left,  in  an  oval,  ornamented  with  allegorical  figures  :  '  Fridericus  Dei 
Gratia,'  &c.     At  bottom,  I.  A.  1572.     h.  uf,  w.  S£.     (B.  18.) 

16.  ITans  Sachs,  a  celebrated  poet  of  Saxony,  at  the  age  of  81  ;  bust,  nearly 

in  front.  At  top,  his  name ;  at  bottom :  '  Zwey  Monath,  &c, 
M.D.LXXVI.,'  and  the  intitials  I.  A.  Bartsch  says  this  piece  is  done 
with  the  burin.     h.  \2.\  with  margin,  w.  Sj  ?     (B.  19.) 

17.  'Sigismundus    Feierabendt    bibliopola,    aetatis    suae    XLII.    Anno 

MDLXIX.'  half-length,  turned  towards  the  left,  in  an  oval  surrounded 
by  ornaments,  and  four  allegorical  figures.  Without  the  artisfs  initials. 
h.  94  w.  7J.     (B.  20.) 

18.  PORTRAIT  OF   A   Man,    half-length,    with    a  polygon   in    the   left    hand, 

which  he  is  measuring  with  compasses ;  in  an  oval  surrounded  by 
four  allegorical  figures.  Without  the  artist's  initials.  h.  iof,  w.  S|. 
(B.  21.) 

19.  Eight  Busts,  on  the  same  plate ;  four  of  men,  and  four  of  females  ;  so 

disposed  that  each  man  has  opposite  to  him  a  female.  Tlie  first  bust  on 
the  left  is  that  of  a  warrior  in  a  helmet,  which  is  ornamented  with  a 
small  coronet.  Near  it  are  the  initials  I.  A.  Done,  according  to 
Bartsch,  with  the  burin.     /.  6|,  h.  i|.     (B.  22.) 

20.  A  Shield  of  Armorial  Bearings.     Quarterings  a  turk's-head  and  a 

shoe  (sabot)  :  helmet  with  crest,  a  turk's-head  ;  supporters,  a  lion  and  a 
winged  dragon.     At   top,  two  winged  genii  with  garlands   of  flovi 
At   bottom,   on   thc   left,  I  ;    and    on   the   riglit,    A.      h.    7'.      '     l'\- 
(B.  23.) 


xviii  LIST  OF  AMMONS   WORKS. 

21.  The  Council   of   the   Germanic    Empire,   in  which   is   seated  the 

Emperor,  surrounded  by  Kings,  Dukes,  Margraves,  &c.  Towards  the 
left,  at  bottom,  I.  A.     An  oval.     /.  13A,  h.  iof.     (B.  13.) 

22.  An   Allegorical  Design,  in    honour  of  the   Emperor   Maxi- 

MILIAN  II.  within  an  ornamented  oval  ;  at  the  top  of  which,  on  either 
side,  is  a  figure  of  Victory,  with  a  wreath  in  the  right  hand,  and  a  palm 
in  the  left.  In  the  centre  of  the  piece  is  represented  the  Emperor  in 
complete  armour,  kneeling  upon  a  sort  of  tabernacle,  whereon  is  in- 
scribed  :  '  Templum  Pacis. '  He  has  a  large  sword  in  his  right  hand, 
and  with  the  left  touches  the  sacred  volume,  which  is  supported  by  an 
angel,  and  on  which  is  written  :  '  spes  miseris.'  Upon  tlie  step  of  the 
tabernacle  are  seated  Peace,  Wisdom,  and  Victory  ;  on  his  right  hand 
stands  Justice,  on  his  left  Faith  ;  and  upon  a  basement,  on  either  side, 
decorated  with  the  statues  of  eminent  persons  of  the  Old  Testament  in 
niches,  are  the  virtues,  Patience,  Benignity,  Fortitude,  Magnanimity, 
Trath,  Charity,  Hope,  and  Temperance,  also  standing.  In  the  sky  are 
two  Angels  supporting  the  Imperial  diadem  ;  Christ,  surrounded  by  the 
symbols  of  the  four  Evangelists,  and  Angels  with  the  instruments  of  the 
Passion,  &c  ;  and  on  the  ground  below  are  six  figures  kneeling,  their 
hands  raised  in  supplication  ;  the  three  on  the  left  being  intended  to 
denote  Unanimity,  Piety,  and  the  Church,  and  those  on  the  right,  the 
subjects  of  his  imperial  majesty.  These  three  are  male  personages  ;  but 
the  Virtues,  &c,  are  all  represented  by  female  figures,  with  their  appel- 
lations  written  in  Latin.  The  print  has  various  other  inscriptions,  and 
among  them  three  in  Latin  verse,  which  occupy  three  tablets,  one  at  the 
top,  and  two  at  the  bottom.  These  are  printed  with  moveable  charac- 
ters  upon  separate  papers,  and  are  added  by  pasting.  They  begin  thus  : 
'Scis  Caesar,  custos  Orbis,'  &c.  '  Haud  secus,'  &c.  'Nos  infinitas 
bellorum,'  &c.  At  six  inches  and  a  quarter  from  the  bottom  are  the 
initials  I.  A.  ;  and  below,  at  the  edge  of  the  plate,  M.D.LXXI.  h.  27J, 
w.  194.     (O.) 

23.  A  Sacred  Allegorical  Representation  ;  same  form  and  dimensions 

as  the  last.  In  the  spandles  of  the  oval,  at  top,  are  two  figures  of 
Victory,  each  holding  a  wreath  with  both  hands.  In  the  sky  is  repre- 
sented  Christ,  seated  on  the  globe,  with  an  olive-branch  in  the  right  hand, 
a  sword  in  the  left,  and  his  left  foot  resting  on  the  cross.  On  either  side 
of  him  are  angels  with  the  instraments  of  the  passion,  &c,  and  below 
him  are  twelve  female  figures  with  attributes,  seated  on  the  clouds,  each 
with  her  title  in  Latin  :   '  Philanthropia,  Pax,  Misericordia,  Lux  Mundi,' 


LIST  OF  AMMON'S    WORKS. 


XIX 


&c.  In  the  centre  of  the  print  is  Truth,  'Veritas,'  represented  by  a 
winged  female,  standing  with  a  large  open  book  under  her  left  arm,  in 
which  is  written  '  Ecce  Agnus  Dei  qui  tollit  peccata  Mundi,'  and  her 
right  hand  pointing  to  heaven  :  on  each  side  of  her  is  another  winged 
female  ;  that  on  her  right  being  in  the  act  of  baptising  an  infant  whose 
father  and  mother  kneel  below,  whilst  the  other  is  employed  in  adminis- 
tering  the  eucharist.  Within  an  arch,  under  the  figure  of  Truth,  is  hell ; 
and  on  the  ground  below  are  eight  prostrate,  or  kneeling  figures,  denoting 
Sin,  Contrition,  Penitence,  &c,  distinguished  by  letters  of  the  alphabet, 
A  to  H,  of  which  the  explanations  are  given  in  papers  printed  with 
moveable  type,  in  two  tablets  at  bottom,  similar  to  those  in  the  other 
print.  The  inscription  in  the  tablet,  at  top,  commences  :  '  Christus. 
Venite  ad  me  omnes,'  &c.  In  the  middle,  near  the  bottom,  I.  A.  ;  and 
underneath,  ' Ios.  Amman  F.  M.D.LXXL'  These  two  prints,  from 
their  dimensions,  and  the  care  with  which  they  are  executed,  merit 
perhaps  to  be  considered  as  the  artist's  most  capital  performances  on 
copper.  It  is  remarkable  that  neither  Heinecken  nor  Bartsch  appears  to 
have  been  acquainted  with  them.     (O. ) 

24.  The  Storming  of  a  Fortified  Town.     The  walls  of  the  city,  forti- 

fied  by  various  round  towers,  are  on  the  left ;  the  attack  is  made 
simultaneously  by  cannon,  bombshells,  and  infantry  scaling  the  walls  ; 
and  on  the  right  are  two  large  bodies  of  troops  drawn  up  in  squares.  At 
bottom,  near  the  left  corner  of  the  print,  are  the  initials  I.  A.,  the  former 
letter  intersecting  the  first  stroke  of  the  latter  ;  and  within  the  lower 
division  of  the  A.  is  a  small  capital  G,  the  singification  of  which  is  un- 
known  to  me.  Three  inches  further  to  the  right  is  the  date  '  1564.'  In 
different  parts  of  this  plate  are  letters  of  reference,  showing  it  to  liave 
been  accompanied  originally  by  letter-press.  It  is  undoubtedly  by 
Jobst  Amman,  and  though  slightly  etched,  is  full  of  spirit.  /.  22, 
h.  11L     (O.) 

25.  A  View  of  A  Small  Fortified  Town,  r.Y  Night,  with  numerous  per- 

sons,  some  in  a  carriage,  and  others  011  foot  and  on  horseback,  witness- 
ing  a  display  of  rockets  and  other  fireworks  which  are  thrown  from  the 
walls  and  bastions.  Towards  the  right,  at  bottom,  '1570.  Jos.  Ammau /■'.' 
Bartsch  supposes  this  plate  to  have  been  engraved  with  the  burin,  but  I 
think  it  chiefly  done  by  etching.  The  figures  and  horses  are  admirably 
varied  in  their  grouping  and  attitudes,  and  the  effect  of  night  is  finely 
represented.      On  the  whole  it  is  a  masterpiece.     /.  iy'i;  h.  8|.     (I!.   14) 

26.  The  Dresses  and  Manners  of  tiie  Four  Quarters  of  the  Glo 


xx  LIST  OF  AMMONS    WORKS. 

those  of  the  European  nations  being  represented  in  a  compartment  at  top, 
and  those  of  Asia,  Africa,  and  America,  in  three  compartments  below. 
The  initials  I.  A.  are  upon  a  vase  in  the  middle  compartment  at  bottom. 
/.  iS,  h.  14.     (B.  15.) 

27.  A  Triumphal  Arch,  of  three  openiugs.  Under  the  middle  archway  are 
two  officers,  one  of  whom  has  a  halberd ;  in  a  balcony  above  are 
musicians,  and  at  top  is  the  imperial  eagle.  Without  the  initials  of  the 
artist.     /.  204,  h.  16.     (B.  16.) 


WOOD-ENGRAVINGS,    IN    BOOKS,    OR   SETS. 

28.  '  Biblia,  das  ist  die  ganze  heilige  Schrift.   D.  Mart.  Luther.  Frankf.  am 

Mayn.  1565,  Durch  Georg  Raben,  Sigismund  Feyerabend  und  Weygand 
Hanen  Erben.'  In  fol.  This  work,  according  to  Bartsch,  contains  a 
great  number  of  scriptural  subjects  ;  /.  6,  h.  4§,  a  large  proportion  of 
which  appear  to  have  been  done  after  the  designs  of  Jobst  Amman. 
(B.   1.) 

29.  Stories  of  the  New  Testament,  &c,  78  pieces,  /.  3J,  h.  2§.     Three 

only  of  these  pieces  have  the  initials  of  Jobst  Amman  ;  the  others  are 
without  any  artist's  mark.  They  were  published  with  this  title  : 
'Kunstliche  und  wohlgerissene  Figuren,'  &c.  Durch  Josl  Amman, 
Burgern  zu  Nurnberg.  Frankf.  am  Mayn  1579.  Durch  Peter  Fabricius, 
auf  Kosten  Sigismunds  Feyerabend,'  in  4to.  The  preface  is  followed  by 
a  cut  representing  the  prophet  Elijah  fed  by  the  raven.  //.  4I,  w.  45, 
and  an  emblematical  piece  of  the  same  size.  The  scriptural  pieces  have 
Latin  verses  at  top,  and  German  at  bottom.     (B.  2.) 

30.  '  ICONES  LlVlANAE  :   praecipuas  Romanorum  historias,  &c.  M.D.LXXH,' 

being  a  set  of  75  pieces,  representing  subjects  of  the  Roman  history,  /.  6, 
//.  4]-  ;  each  with  the  initials  of  Jobst  Amman,  besides  which  six  pieces 
bear  the  mark  of  two  wood-engravers  who  cut  them.   (B.  3.) 

These  prints  were  first  employed  in  a  Latin  edition  of  Livy,  published  at 
Frankfort  on  the  Mayne,  in  1568,  in  fol. 

31.  '  Kunst  und  Lehrbuch,  &c.     (a)  or  A  Book  of  Art,  and  Instruc- 

tion,  i.\  which  to  learn  to  draw  and  paint,  i578,'in4to.  (/>) 
'  Desgleichen  Zwevtes  Bixh.  Josi  Ammons  neues  Kunstbuc  h. 


LIST  OF  AMMON'S    WORKS.  xxi 

&c,  1580,'  in  4to.  These  works  were  reprinted  with  additions,  after 
the  artisfs  death,  under  this  title  :  (r)  '  Kuntsbuchlein,'  &c.,  or  '  A 
little  Book  of  Art,  wherein,  besides  the  representations  of  many  persons 
of  high  and  low  rank,  both  Ecclesiastics  and  Seculars,  as  well  as  those 
of  the  Turkish  Emperors  and  their  chief  men,  are  contained  all  kinds  of 
masterly  designs  and  figures ;  as  the  seven  planets,  the  ten  ages,  &c,  by 
the  late  excellent  and  far  renowned  Jost  Ammon  of  Nuremberg.  Frankf. 
am  Mayn  1599,  Durch  Romanum  Beatum,  in  Verlegung  Johann 
Feyerabends. '  In  4to.  This  admirable  volume  contains,  according  to 
Heinecken,  298  pieces,  though  Bartsch  says  289.  Twelve  of  them  bear 
the  initials  of  Jobst  Amman,  and  several  have  the  marks  of  the  wood" 
engravers  who  cut  them.  The  prints  are  of  a  small  4to  size,  and  furnish 
abundant  proof  of  the  inventive  genius  of  their  author,  and  of  his  great 
power  as  a  designer.  The  two  sets,  each  of  10  pieces,  representing  the 
Ages  of  Man  and  Woman,  are  particularly  excellent.     (B.  4. ) 

32.  '  Artliche  und  kunstreiche  Figuren,  &c.     Frankfurt  am  Mayn,  in 

Verlegung  Sigmund  Feyerabend,  15S4.'  This  work  contains  92  cuts  of 
armed  men  and  others  on  horseback,  studies  of  horses,  females  on  horse- 
back,  &c,  which,  if  I  rightly  understand  Bartsch,  were  afterwards,  in 
1599,  introduced  into  the  collection  last  mentioned.     (B.  5.) 

33.  Costumes  of  the  Roman-Catholic  Clergy,  &c     '  Cleri  totius  Ro- 

manae  ecclesiae  subjecti,  seu  pontificiorum  ordinum  omnium  omnino 
utriusque  sexus,  habitus,  artificiosissimis  figuris,  &c,  nunc  primum  a 
Judoco  Ammanno  expressi,  &c  Francofurti  sumpt.  Sigismundi  Feyer- 
abendij.  1585,'  in  4to.  It  consists  of  103  prints,  without  the  artist's 
initials.     h.  3§,  w.  2§.     (B.  6.) 

34.  The  Dresses  of  Women  of  different  Nations  ;  122  pieces,  h.  3!, 

w.  2§  ;  published  with  title  :  '  Gynaeceum,  sive  theatrum  mulierum,  &c 
Artificiosissimis  nunc  primum  figuris,  &c  expressos  a  Jodoco  Amano, 
&c  Francofurti,  impensis  Sigismundi  Feyerabendij,  15S6.'  In  4to. 
Each  cut  has  two  Latin  verses  at  top,  and  two  at  bottom.  They  are 
without  the  artist's  initials.      (B.  7.) 

35.  Jobst  Amman's  Book  of  Trades  ;  entitled  :   '  YlavoirXia  onmium  illibe- 

ralium  mechanicarum  aut  sedentariarum  artium  genera  continens, 
Per  Hartmannum    Schopperum.    Francof.    ad    Moenum,    1568.     Apud 
Georgium  Corvinum,  impens.  Sig.  Feyerabend.'     In  Svo.      It  contains 
130  pieces,  h.  3$,  w.  2§.     There  are  several  editions.     (B.  8. ) 


xxii  LIST  OF  AMMOWS    WORKS. 

36.  Hunting;  a  set  of  40  pieces,  /.  4^,  h.  3J  :  '  Kiinstliche  wohlgerissene 

neue  Figuren,  &c,  durch  den  kunstreichen  und  weitberiihmten  Jost 
Ammon.  Frankfurt  am  Mayn  1592.  Durch  Johann  Feyerabend,  in 
Verlegung  Sig.  Feyerabends  Erben.'  The  cuts  have  Latin  verses  at 
top,  and  German  at  bottom.  Two  pieces  have  the  initials  I.  A.  and 
five  others  the  marks  of  wood-engravers.  (B.  9.)  These  blocks  were 
again  printed  in  a  book  of  instructions  for  hunting,  in  German,  with  the 
title :  '  Adeliche  Weydwercke,  &c.  Franckfurt  am  Mayn,  Bey  Joh. 
Wilhelm  Ammon  und  Wilh.  Serlin  Buchh.  Im  Jahr.  1661.'  In  4to. 
This  J.  W.  Ammon  was  probably  of  the  same  family  as  the  artist,  and, 
at  this  time,  a  chief  proprietor  of  the  engraved  blocks  left  by  him. 

37.  The  Tricks  of  the  Fox,  a  set  of  50  pieces,  /.  2$,  h.  i§  ;  in  a  work 

entitled  :  '  Hartmanni  Schopperi  Speculum  vitae  aulicae.  De  admi- 
rabili  fallacia  et  astutia  Vulpeculae  Reinikes,  &c.  Francof.  ad  Moenum 
1574,'  in  121110.     Ten  of  the  cuts  have  the  initials  I.  A.     (B.  10.) 

38.  Bible-Subjects,  24  pieces,  with  the  initials  I.  A.     /.  6,  h.  4I,  in  an 

edition  of  the  Jewish  Antiquities  of  Josephus,  published  at  Francfort  on 
the  Mayne,  1580,  in  fol.  A  larger  number  of  wood-cuts  in  the  same  book 
were  engraved  after  the  designs  of  Tobias  Stimmer.     (B.  12.) 

39.  Wood-Engravings  in  a  Book  upon  Cookery  :  '  Ein  neu  Kochbuch,' 

&c,  by  Marc  Rumpolt.  Frankfort,  1581,  published  by  I.  Feyerabend. 
In  fol.  This  book  contains  a  great  number  of  wood-cuts,  several  of 
them  after  the  designs  of  Jobst  Ammon,  and  some  bearing  his  initials. 
(a)  Vignette  in  the  title-page  representing  a  kitchen,  with  aman-cook  and 

his  female  assistant.     /.  $\,  h.  3^. (b)  Head-piece  to  the  Dedication, 

containing  the  arms  of  Anne  of  Denmark,  wife  of  Augustus  Elector  of 

Saxony,  /.  54,  h.  5. (c)  A  Prince  seated  on  his  throne,  giving  orders 

to  the  persons  ofhis  court  ;  with  the  mark  of  the  wood-engraver.    h.  4!, 

w.  4g. (d)  A  Prince  speaking  to  one  of  his  ministers,  who  stands 

before  him,  on  the  right.     In  the  fore-ground  on  the  left  is  a  dog.    Same 

size. (e)  A  man  accompanied  by  a  dog,  delivering  a  vase  to  a  gentle- 

man,  who  is  standing  on  the  right ;  with  the  mark   of  a  wood-engraver. 

Same  size. (/)  A  Cup-bearer,  with  a  goblet  in  his  right  hand,  and  at 

his  feet  a  dog.     //.  4§,  w.  3f. (g)  An  Imperial  banquet,  in  a  magni- 

ficent  hall.      On  the  left,  at  bottom,  the  initials  I.  A.,  and  on  the  right 

the  mark  of  a  wood-engraver.     /.  5I,  h.  4|. (h)  A  Royal  banquet. 

/.  5§,  h.  4.k (/')  A  nobleman  with  a  goblet  in  his  right  hand,  speaking 

to  a  lady  who  is  standing  by  him.     h.  5,  w.  4J. (k)  A  banquet  of 


LIST  OF  AMMON'S    WORKS. 


XXlll 


the  King  of  Hungary  ;  on  the  left,  guards,  and  on  the  right,  musicians. 

/.  5§,  h.  4. (/)  Lazarus  at  the  foot  of  the  stairs  of  the  rich  man's 

palace.     The  initials  I.    A.   on  the  right.     /.    5I,   h.  41. (m)  The 

Marriage  of  Cana.     The  initials  I.  A.  011  the  left.     Same  size.     (B.  14.) 

40.  Wood-Engravings,  in  a  Book  upon  the  Art  of  War,  entitlcd  : 
'  Kriegszbuch,  Ander  Theyl.  Von  Wagenburgk,  &c.  Getruckt  /11 
Franckfurt  am  Mayn,  im  Jar  nach  Christi  Geburt  1573.'  In  fol.  This 
title  is  ornamented  with  two  vignettes,  each  representing  a  cannoneer 
with  a  piece  of  artillery.  The  volume  itself  is  not  before  me  ;  but  only 
the  above  title  to  the  second  part,  and  85  wood-engravings  belonging  to 
it ;  over  the  last  of  which,  representing  a  figure  of  Fame,  in  an  oval, 
within  a  square  ornament,  4!  in  diam.,  is  this  colophon  :  '  Getruckt  zu 
Franckfurt  am  Mayn,  durch  Martin  Lechler,  In  verlegung  Sigmundt  Fey- 
erabendt,'  and  underneath  :  '  Anno  m.d.lxxiii.'  The  work  appears  to 
have  been  unknown  both  to  Heinecken  and  Bartsch,  and  I  shall  there- 
fore  briefly  describe  the  chief  prints  it  contains,  which  are  among  Jobst 
Amman's  most  spirited  performances  ;  premising  that  several  of  them, 
according  to  the  custom  of  the  time  in  works  thus  ornamented,  are  re- 

peated  two  or  threetimes  in  different  parts  of  the  volume. (a)  THREE 

Vignettes,  without  marginal  line,  /.  5^,  h.  \\  to  i|;  each  represent- 
ing  a  cannoneer  with  one  or  two  pieces  of  artillery,  in  the  manncr  of 
those  011  the  title.  (b)  Another  Vignette,  /.  4I,  h.  2|,  representing 
a  waggoner  with  four  horses,  011  one  of  whichhe  is  seated.  (c)  BAGGAGE- 
carts,  conducted  bymilitary,  moving  tothe  left.  /.  4f , h.  2'\ .  (d)  Various 
PIECES  OF  Artillery,  cannon-balls,  &c,  /.  5^,  h.  2§ ;  tHe  initials  I.  A.  011 
the  right.  (1?)  A  Cannoneer,  with  a  piece  of  ordnance,  taking  aim  at  a 
tower ;  /.  5J,  //.  2.  (/)  A  LARGE  Cannon,  with  a  soldierguarding  it  ; 
/.  5f,  h.  4.  (g)  Two  MORTARS,  with  a  guard  ;  /.  5§,  h.  4.  (//)  A  GROUP 
OF  WAGGONS  laden  with  military  stores  ;  /.  $%,  h.  4.  (/)  VARIOUS 
Cannon,  pointed  at  two  towers  ;  /.  5§,  h.  4.  (k)  Twd  MORTARS 
throwing  shells,  in  the  presence  of  various  offkers  on  horseback  ;  /.  5.1,, 
w.  4.  (/)  The  Bombardment  of  a  Fortified  Town  ;  /.  5.1,  w.  g. 
(m)  A  Set  of  52  pieces,  of  an  oval  form,  h.  4J,  w.  3J,  which  are 
printed  within  '  passe-par-touts,'  ornamented  with  trophies  and  figures, 
of  which  there  are  fifteen  different  from  each  other  ;  //.  5§,  w.  5J.  These 
52  pieces  represent  the  dresses  and  employments  of  all  classes  of  per- 
sons  belonging  to  an  army,  with  appropriate  backgrounds  ;  the  m<  1 1  od 
of  holding  courts-martial  ;  military  punishments  ;  councils  of  war  ;  the 
sending,  or  receiving  of  ambassadors  ;  marchings  of  troops  ;  battles,  &c. 
One  print  of  the  set,  only,  bears  the  initials  of  Jobst  Amman,  tl 


xxiv  LIST  OF  AMMON'S   WORKS. 

having  no  artist's  mark  whatever.  This  print  represents  a  group  of 
soldiers  playing  cards,  &c. ,  and  on  the  left  are  three  large  barrels,  upon 
the  furthest  of  which  are  the  initials  I.  A.  in  cypher,  and  immediately 
underneath,  what  appears  to  me  to  be  the  little  knife,  or  other  instru- 
ment,  which  is  often  found  accompanying  the  monograms  of  the  wood- 
engravers  of  the  time*;  though  I  will  not  too  much  insist  upon  this 
appearance,  as  it  is  possible  the  artist  may  have  intended  it  for  an 
instrument  used  in  drawing.  (n)  FoURTEEN  PlECES,  /.  5f,  h.  4  ;  viz. 
Four  officers  on  horseback,  on  the  left,  the  bearers  of  a  letter  to  the 

Governor  of  a  besieged  town. Men  undermining  a  fortified  city. 

The  taking  of  a  city  by  storm  ;   the  initials  I.  A.   at  bottom,  on  the 

right. A  march  of  Infantry  through  a  defile  ;  on  the  left  an  officer 

on  horseback,  in  complete  armour. A  combat  of  Turkish  and  Euro- 

pean  Cavalry. A   combat  of   Muscovite  and  Turkish   Cavalry. 

Two,  of  naval  engagements. A  Turkish  General  seated  in  his  tent ; 

two  Turks  standing  on  the  left,  addressing  him.  A  Turkish  Banquet, 
at  which  are  entertained  two  European   Ambassadors.      An  amicable 

meeting  between  a  Turkish  and  an  European  General. A  messenger 

delivering  a  letter  to  a  king,  who  is  seated  on  the  left ;  on  the  right  the 

initials  I.  A. Turkish  troops  leading  persons  of  every  age  and  sex 

into   captivity. A  king  on  his  throne,  on  the  left,  listening  to  the 

address  of  an  Ambassador.  (0)  The  Emperor  of  Germany  on  his 
throne ;  and  on  either  side  the  princes  of  the  empire ;  and  a  Judge, 
before  whom  is  brought  a  criminal  ;  two  pieces,  which  I  think  by  some 
inferior  designer.  /.  5I,  h.  a,\.  (p)  A  circular  piece,  surrounded  by  an 
ornament,  at  the  top  of  which  is  the  Imperial  Eagle,  and  at  the  corners 
the  figures  of  Justice,  Faith,  Charity,  and  Peace.  It  represents  a  general 
in  armour,  addressing  the  Emperor,  who  is  seen  in  front,  seated  on  his 
throne  ;  his  courtiers  standing  on  either  side  and  in  the  foreground. 
h.  5§,  w.  5.  (q)  The  Turkish  Emperor,  seated  on  his  throne,  on  the 
left,  listening  to  the  address  of  two  Tartar  Ambassadors  who  have 
brought  him  tribute ;  an  oval,  within  an  ornament.  /.  5$,  h.  4|. 
(r)  A  General  on  horseback,  haranguing  his  army ;  in  a  cartouch. 
/.  5!,  h.  4\.  (s)  The  Portrait,  half-length,  of  a  man  in  a  military 
habit,  with  a  cap  and  feather ;  perhaps  the  author  of  the  book ;  an 
upr.  oval,  in  one  of  the  passe-par-touts  used  for  the  set  of  52  pieces 
already  described.     h.  5§,  w.  5. 

Heinecken  mentions  two  or  three  other  books,  with  wood-cuts  by  Jobst 
Amman,  which  I  have  omitted  to  notice ;  doubting  whether  the  same  blocks 
may  not  have  been  also  printed  in  some  of  the  above. 


LIST  OF  AMMOWS   WORKS.  xxv 

DETACHED    PIECES,    ENGRAVED  IN  WOOD. 

41.  Martin  Luther,    half-length,    nearly  in  frontj    in   a  circle  within  a 

border  omamented  with   four  scriptural  subjects.     Within  the  circle : 
'  D.  Martinus  Luterus  ; '  and  in  the  middle  at  bottom  :   I.  A.    /5   h  4 ', 
(B.  19.) 

42.  Steph.  Bathory,  prince  of  Transilvania,  elected  King  of  Toland  ;  died 

1586  :  half-length,  turned  towards  the  right  ;  his  right  hand  on  the  hilt 
of  his  sword,  and  the  left  on  his  haunch.  In  the  middle  at  bottom  are 
theinitials  I.  A.     h.  I2§,  w.  o,|.     (B.  20.) 

43.  The  History  of  Adam  and  Eve,  from  their  creation  to  the  death  of 

Abel ;  the  whole  represented  in  one  piece,  printed  in  clair-obscure  from 
two  blocks.  In  the  middle  at  bottom  are  the  initials  I.A.  h.  10;,', 
w.  1\.  Impressions  of  this  piece,  printed  from  a  single  block,  are 
introduced  in  the  Latin  edition  of  Josephus,  of  1580,  before  mentioned. 
(B.  15.) 

44.  St.  Christopher,  with  the  infant  Saviour  on  his  shoulders;  the  initials 

I.  A.  on  the  right.     h.  9J,  w.  6f.     (B.  18.) 

45.  A  Tournament,    held    at  Vienna,    by  order    of   the    Emperor  Maxi- 

milian  II.  The  initials  I.  A.  with  date  1565,  tovvards  the  right  at  top. 
/.  13I,  h.  8.     (B.  21.) 

46.  An   Allegorical   Representation  :     '  Designatio   picturae,   officium 

boni  coloni  exprimentis ;  '  with  explanations  printed  with  type.  In  the 
middle  at  bottom,  the  initials  I.  A.  and  on  the  left  the  mark  of  the  wood- 
engraver.     h.  15^,  w.  9! .     (B.  23.) 

47.  Time  drawing  Truth  from  Obscurity,  in  spite  of  the  opposition  of 

two  demons  ;  the  background,  an  extensive  landscape.  The  initials 
I.  A.  with  date  1562,  are  on  a  bridge  011  the  left.  /.  17],  h.  12J. 
(B.  24.) 

48.  An  Allegorical  tiece  on  Commerce.     In  the  foreground,  on  thc  left, 

a  female  figure  representing  Obligation  ;  and  on  Ihe  right  another 
denoting  Liberty.  A  man,  standing  in  the  middle,  and  two  groups  oi 
other  men,  a  little  lower  in  the  piece,  on  the  right  and  Ieft,  dcnote 
Integrity,  the  knowledge  of  Languages,  and  Taciturnity.  These  figures 
are  represented  in  a  large  hall,    whercin  are  accountants,  weighers  ol 


xxvi  LIST  OF  AMMON'S    WORKS. 

money,  men  packing  merchandise,  &c,  and  in  various  tablets  are  German 
verses,  printed  with  moveable  type.  The  initials  I.  A.  are  on  a  package, 
on  the  left.     /.  23!,  h.  uf.   (B.  25.) 

49.  A  Procession  of  Military,  in  five  pieces  joined.    A  Captain  on  horse- 

back  followed  by  two  men  with  halberds  and  with  two  muskets  ;  three  men 
with  muskets,  and  a  drummer  and  a  fifer,  four  men  with  halberds,  a  boy 
with  a  goose  on  his  back,  and  a  soldier  with  a  spear  ;  three  other  soldiers 
with  spears,  and  a  part  of  the  followers  of  the  troop,  &c.  The  initials 
I.  A.  are  on  the  lastpiece.  /.  68,  h.  \o\.  The  first  piece  ishigher  than 
the  others.     (B.  26. ) 

50.  A  View  of  St.  Mark's  Place   at  Venice,  with   the   Procession  of 

the  Doge  and  Senate,  &c,  before  embarking  in  the  Bucentaur,  for  the 
cerernony  of  espousing  the  Sea.  The  initials  of  the  artist  are  about  the 
middle  at  bottom.  In  fourteen  pieces,  joined.  /.  74^,  h.  30.  Rare. 
(B.  27.) 

Additional.     Authority,  Chatlo  on  " Playing  Cards." 

51.  Charta  Lusoria  Jodoci  Ammoni.     4to.     Nuremberg,  15S8.     It  con- 

tains  55  woodcuts  of  cards,  with  illustrative  verses  by  the  Imperial  Poet 
Laureate,  J.  H.  Schroter.     This  is  the  rarest  of  Ammon's  works. 


INDEX   OF   ILLUSTRATIONS. 


1.  An  Empress — A  4,  verso. 

2.  A  Queen  of  France  — B. 

3.  A  Oueen  of  Germany — B  1. 

4.  A  Oueen  of  Spain — B  2. 

5.  A  German  Princess — B  2,  vcrso. 

6.  A  Spanish  Princess — B  3. 

7.  An  Italian  married  lady  of  rank — B  4. 

8.  A  maiden  of  the  illustrious  family  of  Fuggers — B  5. 

Ammon  seems  to  have  had  an  eye  to  business,  as  this  cannot  be  accepted 
as  a  portrait,  neither  is  it  to  be  supposed  that  the  Fuggers  wore  any  special 
costume.  The  Fuggers,  though  of  mean  origin,  had  i'isen  by  trading  to  great 
wealth,  and  were  the  Rothschilds  of  the  sixteenth  century,  and  probably  his 
patrons.  They  were  a  numerous  family,  and  had  formed  marriage-allianccs 
with  most  of  the  noble  families  of  Germany.  They  were  not  Jevvs.  Occa- 
sional  traces  of  the  family  are  still  found,  such  as  almshouses  with  their 
names  recorded  as  founders ;  but  the  only  descendants  now  alive  are  said  to 
be  in  abject  poverty. 

About  the  period  of  the  publication  of  this  Book  of  Costumes,  one  of  the 
family,  Huldric  Fugger,  a  bibliomaniac,  was  pursued  by  his  family  in  a  court 
of  justice  at  Augsburg  and  declared  incompetent  to  managc  his  property.  The 
special  reason  which  satisfied  the  court  of  his  incapacity  was  his  purchase  of 
costly  manuscripts,  which  he  printed  at  tlie  prcss  of  Ilenry  Stephens.  Biblio- 
maniacs  of  the  present  day  would  probably  fare  better  in  the  Court  of  Chancery. 
Huldric  retired  to  Heidelberg,  and  dicd  in  1584. 


xxviii        INDEX   OF  ILLUSTRATIONS. 

9.  A  Roman  lady  of  rank — B  6. 

0.  A  German  Princess — C. 

1.  A  German  Countess — C  2. 

2.  A  noble  lady  of  Saxony — C  3. 

3.  A  noble  married  lady  of  Meissen — C  4. 

4.  A  noble  Franconian  lady — D. 

5.  A  noble  married  lady  of  the  Palatinate — D  2. 

6.  A  noble  married  lady  of  Hesse — D  3. 

7.  A  noble  maiden  of  Meissen — D  4. 

8.  A  noble  maiden  of  Saxony — E. 

9.  A  noble  maiden  of  Franconia — E  2. 

20.  A  noble  lady  of  Augsburg — E  3. 

21.  An  Augsburg  woman  of  the  lower  class — E  4. 

22.  An  Augsburg  maiden — F. 

23.  An  Augsburg  serving  woman — F  2. 

24.  A  Suevian  maiden — F  3. 

25.  An  Augsburg  lady  going  to  church — F  4. 

26.  A  noble  lady  of  Frankfort-on-the-Maine — G. 

27.  A  noble  bride  of  Frankfort — G  2. 

28.  A  married  woman  of  the  lower  ordcr  of  Frank- 
fort— G  3. 

29.  A  woman  of  Frankfort — G  4. 

30.  A  serving  woman  of  Frankfort — H. 

31.  A  serving  woman  of  Frankfort  going  to  church — 
H  2. 


INDEX   OF  ILLUSTRATIONS.  xxix 

32.  A  woman  of  the  lower  orders  of  Frankfort — H  3. 

33.  A  noble  maiden  of  Frankfort — H  4. 

34.  A  married  woman  of  Nuremberg — I. 

35.  A  noble  lady  of  Nuremberg  in  walking  dress — I  2. 

36.  A  noble  betrothed  lady  of  Nuremberg — I  3. 

37.  A  noble  maiden  of  Nuremberg  in  hcr  wedding 

dress — I  4. 

38.  A  maiden  of  the  lower  orders  of  Nurcmberg — K. 

39.  A  serving  woman  of  Nuremberg— K  2. 

40.  A  married  woman  of  Leipsic — K  3. 

41.  A  maiden  of  Leipsic — K  4. 

42.  A  woman  of  Strasburg — L. 

43.  A  married  woman  of  Heidelberg — L  2. 

44.  The  wife  of  a  lawyer  of  Spire — L  3. 

45.  A  woman  of  Cologne — L  4. 

46.  A  serving  woman  of  Cologne — M. 

47.  A  maiden  of  Zurich — M  2. 

48.  A  married  woman  of  Basle — M  3. 

49.  A  woman  of  Halle,  in  Suabia — M  4. 

50.  A  woman  of  Wurzburg,  in  Franconia — N. 

51.  A  Franconian  woman  of  the  lower  orders — N  2. 

52.  A  noble  lady  of  Meissen  in  mourning — N  3. 

53.  A  Thuringian  maiden — N  4. 

54.  A  Silesian  married  woman — O. 

55.  A  betrothed  Silesian — O  2. 


xxx  INDEX   OF  ILLUSTRATIONS. 

56.  An  Austrian  married  woman — O  3. 

57.  A  noble  married  lady  of  Sweden — O  4. 

58.  A  Lubeck  married  woman — P. 

59.  A  Dantzic  bride — P  2. 

60.  A  Dantzic  serving  woman — P  3. 

61.  A  wife  of  a  Doge  of  Venice — P  4. 

62.  A  Venetian  noble  lady — O. 

63.  A  Venetian  noble  bride — Q  2. 

64.  A  noble  Venetian  maiden — O  3. 

65.  A  noble  Venetian  lady  in  a  summer  dress — 0  4. 

66.  A  Venetian  married  woman — R. 

67.  A  Venetian  woman  of  the  lower  orders — R  2. 
6S.  A  newly-married  Roman  lady — R  3. 

69.  A  Roman  maiden — R  4. 

70.  A  Roman  courtezan — S. 

71.  A  Neapolitan  married  woman — S  2. 

72.  A  noble  Neapolitan  maiden — S  3. 

73.  A  Florentine  married  woman — S  4. 

74.  A  Florentine  maiden — T. 

75.  A  noble  married  lady  of  Milan — T  2. 

76.  A  noble  maiden  of  Milan — T  3. 

77.  A  noble  married  woman  of  Ferrara — T  4. 

78.  A  Mantuan  noble  lady — V. 

79.  A  Veronese  woman — V  2. 

80.  A  Patavian  noble  married  lady — V  3. 


INDEX   OF  ILLUSTRATIONS.  xxxi 

81.  A  woman  of  Placentia — V  4. 

82.  A  noble  married  lady  of  Vicentia — X. 

83.  A  married  woman  of  Sienna — X  2. 

84.  A  maiden  of  Bologna — X  3. 

85.  A  married  woman  of  Bologna — X  4. 

86.  A  Spanish  married  woman — Y. 

87.  A  noble  English  lady — Y  2. 

88.  A  married  woman  of  London — Y  3. 

89.  A  French  noble  married  lady — Y  4. 

90.  A  French  noble  maiden — Z. 

91.  A  Parisian  noble  married  lady — Z  2. 

92.  A  noble  married  lady  of  Lyons — Z  3. 

93.  A  noble  married  lady  of  Lorraine — Z  4. 

94.  A  Burgundian  maiden — a. 

95.  A  married  Belgian  lady  of  high  rank — a  2. 

96.  A  Belgian  maiden — a  3. 

97.  A  Brabant  woman — a  4. 

98.  A  Dutch  woman — b. 

99.  A  Belgian  serving  woman — b  2. 

100.  A  woman  of  Aix-la-Chapelle — b  3. 

101.  A  Cologne  bride — b  4. 

102.  A  woman  of  Belgic  Flanders — c. 

103.  A  noble  married  woman  of  Hungary — c  2. 

104.  A  woman  of  Prague — c  3. 

105.  A  Bohemian  married  wonran — c  4. 


xxxii         INDEX   OF  ILLUSTRATIONS. 

06.  A  Polish  married  woman — d. 

07.  A  Livonian  woman — d  2. 

08.  A  Livonian  lady  of  high  rank — d  3. 

09.  A  noble  Livonian  married  lady — d  4. 

10.  A  Russian  lady  of  high  rank — e. 

11.  Camilla,  the  daughter  of  the  Turkish  Sultan — e  2. 

12.  A  Turkish  courtezan — e  3. 

13.  A  Peruvian  woman — e  4. 

14.  A  nun  of  the  order  of  St.  Catharine — -f. 

15.  A  nun  of  the  order  of  St.  Bridget— /  2. 

16.  Order  of  the  White  Nuns  with  the  black  veil — /3. 

17.  Order  of  Paid  Attendants  on  the  Sick— /4. 

18.  A  Beguin — g. 

19.  The  lay  order  of  St.  Catharine — g  1. 

20.  Order  of  Penitent  Women — g  2. 

21.  Order  of  the  Virgin  Clara — g  2,  verso. 

22.  An  abbess — g  3. 


TO  THE   MOST   SERENE 

LADY  ISABELLA    OF  AUSTRIA, 
QUEEN    OF    FRANCE. 


ALTHOUGH  authorities  do  not  appear  to  bc  suffi- 
ciently  agreed  as  to  the  race  of  men  who  first 
made  themselves  clothing  such  as  we  daily  wear — each 
assigning  the  credit  of  such  an  invention  to  those  of  his 
own  race  and  country — one  thing  I  take  to  be  beyond 
dispute,  namely,  that  our  first  parent,  while  still  dwelling 
in  Paradise  with  his  wife,  but  after  the  actual  transgression 
of  the  law  given  to  him,  covered  himself  with  the  leaves 
of  trees,  until,  having  been  expelled  from  that  garden  of 
delights  and  compelled  to  seek  for  more  effcctive  protection 
against  the  severity  of  cold,  he  began  to  make  use  of  skin 
garments,  i.e.  untanned  hides  of  wild  or  domesticated 
animals  ;  and  this  unquestionably  remained  as  an  example 
of  clothing  to  posterity.  For  the  statement  of  Eusebius 
(in  his  work,  De  Prceparationc  Evangclica,  where  he  is 
writing  on  Phcenician  affairs),  that  one  Uso,  a  Sicilian, 
first  made  coverings  for  the  body  from  the  skins  of  wild 
beasts,  I  take  to  refer  only  to  the  Phcenicians,  since 
skin-garments,  as  I  have  said,  had  long  before  been  in- 
vented  by  the  first  man  ;  or,  to  speak  morc  correctly,  and 
more  in  agreement  with  the  sacred  Scriptures,  liberally 
assigned  to  the  first  man  for  his  use  by  the  very  Auth<  >r  of  all 
good  things,  Almighty  and  Most  Gracious  God.     The  case 

c 


xxxiv  DEDICA  TION. 

is  the  same  with  regard  to  linen,  which  Pliny,  in  his  seventh 
book,  declares  to  be  the  gift  of  Arachne,  a  maid  of  Lydia. 
He  was  clearly  ignorant  of  its  use  by  the  Hebrews  so  long 
before  the  birth  of  Arachne,  just  as  with  regard  to  many 
other  things,  the  bestowal  of  which  the  same  Pliny  and 
other  profane  writers  assign  to  different  persons.  In  the  same 
way,  the  arts  of  spinning  wool  and  weaving  are  assigned 
by  Ovid  to  Pallas,  or,  what  is  much  the  same,  by  Trogus, 
or  rather  Justin,  to  the  Athenian  worshippers  of  Pallas, 
and  by  Pliny  to  the  Egyptians.  So  the  art  of  fulling,  by 
which  garments  are  improved  and  brightened,  is  assigned 
to  one  Nicias  of  Megara  ;  sewing  to  some  unknown  Boe- 
thius  ;  embroidery  to  the  Phrygians,  whence  the  name  of 
Phrygioucs,  applied  to  those  who  work  it,  is  derived  ;  many- 
coloured  robes  to  the  Babylonians  ;  watered  stuffs  to  Caia 
Caecilia,  who  is  identical  with  Tanaquil  ;  costly  dalmatics 
to  the  Dalmatians  ;  and,  on  the  other  hand,  the  very  low- 
priced  cilician  dress  to  the  Cilicians  by  Varro,  Trogus, 
Diodorus,  and  Pliny  who  has  been  already  quoted.  Silk 
only,  than  which  there  is  at  the  present  day  nothing 
commoner,  was  both  discovered  later,  and  for  a  long 
time  more  sparingly  transmitted  to  us  ;  since,  even  in 
the  time  of  the  Emperor  Aurelian,  as  Vopiscus  relates, 
i.  e.  in  the  year  of  grace  274,  silk  was  valued  at  its 
weight  in  gold.  On  this  account,  too,  that  most  tem- 
perate  sovereign  thought  fit  to  refrain  from  the  use  of 
robes  all  of  silk,  until,  in  the  reign  of  Justinian,  as  we 
learn  from  Procopius,  this  material  also  became  gradually 
more  abundant,  and  consequently  cheaper.  The  use 
of  robes,  having  arisen  from  such  a  commencement, 
gradually  advanced  so  far  that  personal  adornment  now 
seems  to  be  hampered  by  the  elaboration  of  its  means ; 
since  day  by  day  some  new  thing  is  devised  by  those  artists, 
whose  sole  business  is  to  pander  to  the  passionate  lovers 
of  dress,  and  especially  to  the  more  showy  of  women. 
That  sex  is  not  only  the  more  inclined  by  nature  itself  to 
the  pleasure  and  beauty  of  dress,  but  also,  to  confess  the 
truth,  the  want  of  moderation  in  men  (for  whom  those 
women  had  no  charms  who  did  not  assist  their  own  special 


DEDICA  TION.  xxxv 

excellence  of  beauty  by  some  art  and  favour  of  dress)  drove 
the  sex  to  descend  so  far  as  to  take  the  very  highest  account 
of  personal  ornament  and  decoration,  in  order  to  retain 
their  husbands,  by  this  species  of  enticement,  in  love  and 
admiration  for  them. 

This  had  not,  indeed,  been  altogether  amiss,  although 
excessively  and    over-nicely  done,    if  here   those  arts  of 
allurement    had   stayed.     But   afterwards,  some  men,  not 
even  by  this   means   contented   with   their  own,  began  to 
fix    their   hearts    on    othcr    men's   wives ;    making   an    ill 
use    of    their    eyes    as    waylayers    of    the    innocence    of 
their  neighbours'  wives  ;  and  womcn  were  actually  found 
who  delighted  less  to  charm  with  their  beauty  their  own 
husbands  than  their  neighbours.     Forthwith,  by  license  in 
dress,  good  morals  were  cast  out  headlong,  and  eventually 
for  nothing  more  than  dress  was  some  rule  requircd.     For 
although,   as   Cyprian  justly  says  with    reference    to  the 
dress  of  maidens,  the  display  of  ornament  and  dress,  and 
the  allurements  of  personal  shapeliness,  are  only  in  keeping 
with  prostitutes  and  immodest  women  ;  and  none  are  more 
expensive  in  their  decoration  than  those  whose  honour  is 
cheap :  even  womcn,  modest  in  other  respects,  have  been 
compelled,  or  rather  have  desired  to  seem   compelled,  to 
imitate  the  wTay,  or  rather  the  wandering,  of  the  unchaste 
in  this  excess  of  apparel,  as  if  with  the  like  blandishments, 
as  I  have  said,  to  keep  hold  of  their  husbancls.     This  their 
aim,  which  at  first  sight  seems  not  undeserving  of  excuse, 
that  most  strict  censor  Tertullian  most  severely  blames  in 
these  words  : — "  Come  now,"   he   says,   "  if  from  the  rlrst 
both  the  Milesians  shearcd  sheep,  and  the  Chinese  spun 
from  the  tree,  and  the  Tyrians  dyed,  and  the  Phrygians 
embroidered,  and  the   Babylonians  invvove,  and   if  pearls 
shone    and    rubies    flashed  ;    if  gold   itself,  too,  came    up 
from  the  earth  with  the  desire  for  it ;  and   if  now,  too,  no 
lying  but  the  mirror's  were  allowed,  Eve,  I  suppose,  would 
have  desired  these  things  on  her  expulsion  from  Paradise, 
and  when  spiritually  dead.     Therefore,   she   should   now 
neither  desire  nor  know,  if  she  desires  to  live  again,  what, 
when  she  lived,  she  neither  had  nor  knew.     Accordingly, 


xxxvi  DEDICA  TION. 

all  those  things  are  equipments  of  a  lost  and  dead  woman, 
prcpared,  so  to  speak,  for  the  funeral  procession." 

And  again : 

"  A  womans  toilet  comprehends  two  species,  cultus  and 
ornatus.  Cultus  is  the  name  we  give  to  what  is  called  her 
toilet  proper ;  oruatus,  to  what  should  be  called  her  toilet 
improper.  The  lattcr  consists  in  gold,  silver,  precious 
stones,  and  raiment ;  the  former,  in  attention  to  the  hair 
and  skin,  and  those  parts  of  the  body  which  attract  the 
eye.  The  one  we  charge  with  seeking  admiration,  the 
other  with  prostitution  ;  so  that  hence  you  may  see  how 
much  of  this  is  suitable  to  your  training  as  a  handmaid  of 
God,  a  training  which  you  should  consider  to  be  formed  of 
the  contrary  qualities,  namely,  of  humility  and  chastity." 

And  again,  in  another  passage  : — "  Earth,  forsooth,  is  far 
more  glorious,  because,  after  being  wailed  over  in  pestiferous 
mines  of  cursed  metals  by  the  labour  of  criminals,  it  has 
abandoned  the  name  of  earth  in  fire,  and  then  the  fugitive 
of  the  mine  is  changed  from  torment  to  ornament,  from 
punishment  to  delight,  from  shame  to  honour."  In  this 
passage  that  most  accomplished  theologian  can  be  seen  to 
imitate  Pliny,  who,  although  a  heathen,  and  indeed  an 
atheist,  says  in  indignation  at  this  luxury :  "  We  penetrate 
into  the  bowels  of  the  earth,  digging  veins  of  gold  and 
silver,  and  ores  of  brass  and  lead  ;  we  seek  also  for  gems 
and  certain  little  pebbles.  Driving  galleries  into  the  depths, 
we  draw  out  the  bowels  of  the  earth,  that  the  gems  we  seek 
may  be  worn  on  the  finger.  How  many  hands  are  wasted 
in  order  that  a  single  joint  may  sparkle  !  If  any  hell  there 
were,  it  had  assuredly  ere  now  been  disclosed  by  the  borings 
of  avarice  and  luxury!"  Hence,  as  our  author  Tertullian 
continues,  "  for  a  very  little  casket  a  great  estate  is 
offered.  In  a  single  dress  a  million  sesterces  are  em- 
broidered.  Parks  and  islands  are  carried  on  a  slender 
neck.  Thin  ear-lobes  hang  out  for  view  a  whole  estate ; 
and  the  left  hand  sports  a  bag  of  gold  on  every 
finger.  This  is  the  strength  of  ambition — to  carry  the 
capital  of  so  great  interests  on  one  little  body,  and  that 
a    woman's."      Presently,    deriding    that    kind    of    luxury 


DEDICA  TION.  xxxvii 

as  the  ground  of  its  folly,  inasmuch  as  gold  and  gems, 
which  ladics  esteem  so  highly,  are  common  and  con- 
temptible  in  the  eyes  of  many,  he  says  :  "  Among  certain 
barbarians,  because  gold  is  an  abundant  product'  of  thcir 
ovvn  soil,  they  keep  their  prisoners  in  golden  fctters,  and 
load  malefactors  with  wealth,  the  more  lavish  as  they  are 
the  more  guilty.  Sometimes,  in  fact,  instances  have  bcen 
found  of  the  absence  of  even  the  love  of  gold.  The  noble- 
ness  of  precious  stones,  too,  we  see  at  Rome,  blushing  at 
the  disdain  of  the  Parthians  and  Medes  and  other  kindred 
tribes  shown  for  gems  in  presence  of  our  ladies,  exccpt, 
indced,  such  as  are  not  worn  for  display.  Hidden  in  thcir 
girdles  are  emeralds,  and  the  jewels  of  their  scabbards 
their  swords  alone  know ;  and  in  their  boots,  pearls  long 
to  rise  from  the  mud.  In  fine,  they  jewel  just  as  much 
as  should  not  be  jewellcd  if  it  is  not  visible,  or  only  so 
far  visible  as  to  display  also  the  neglect  of  it.  Accord- 
ingly,  with  regard  to  the  colour  of  clothing,  their  slavcs 
bear  the  palm ;  nay,  they  even  waste  on  their  walls, 
instead  of  paint,  Tyrian  and  hyacinthine  and  royal 
tapestries,  which  you  with  great  pains  unravel  and  meta- 
morphose.  Purple  is  of  less  price  with  them  than  ochre ; 
for  what  rightful  honour  is  done  to  clothes  by  adulterating 
them  with  wrongful  colours  ?  God  is  not  pleased  with 
what  he  has  not  himself  produced,  unless  you  suppose 
that  he  could  not  bid  sheep  be  born  purple  and  grccn.  If 
he  could,  he  ivould  not :  what  God  would  not  may  not 
lawfully  be  contrivcd.  Those  things,  therefore,  are  not 
naturally  the  best  which  are  not  from  God,  the  author  of 
nature.  Thus  they  are  understood  to  be  from  the  devil, 
the  disturber  of  nature." 

Pnially,  therefore,  he  bids  Christian  women  to  lcavc 
such  things  to  hcathen  and  unbelieving  womcn.  "  Lct 
them,"  he  continues,  "  strive  to  please  their  husbands  by 
this  luxury ;  but  go  ye  forth  eqnipped  with  the  cosmetics 
and  adornments  of  the  Apostles,  taking  fairness  from  single- 
ness  of  heart,  colour  from  modesty,  paintingyour  eyes  with 
reverence  and  your  lips  with  silcnce,  wearing  in  your  cars 
the  word  of  God,  and  cncircling  your  ncck  with  thc  yokc 


xxxviii  DEDICA  TION. 

of  Christ.  Submit  your  head  to  your  husband  and  you  will 
be  adorned  enough.  Keep  your  hands  busy  with  spinning, 
keep  your  feet  at  home,  and  they  will  give  more  pieasure 
than  if  clad  in  gold.  Clothe  yourself  with  the  silk  of  up- 
rightness,  the  fine  linen  of  holiness,  the  purple  of  chastity. 
Arrayed  in  such  colours,  you  will  have  God  for  a  lover." 

Though  these  observations  may  seem  somewhat  strict, 
and  pertaining  solely  to  those  who  have  devoted  themselves 
entirely  to  God,  it  cannot  be  doubted  that  they  may  be 
applied  generally  to  all,  especially  as  Tertullian  elsewhere 
says  that  salvation  consists  especially  in  the  dispiay  of 
chastity  ;  because,  though  we  are  all  the  temple  of  God 
(the  Holy  Spirit  having  been  brought  into  us  and  con- 
secrated  in  us),  the  sacristan  and  minister  of  his  temple  is 
Chastity,  who  permits  nothing  unclean  or  profane  to  enter, 
lest  that  God  who  dwells  there  should  leave  in  wrath  the 
defiled  abode ;  and  he  adds,  further,  that  he  judges  of  this 
chastity  not  only  from  carnal  innocence,  but  aiso  from  the 
manner  of  adornment  and  decoration,  and  that  accordingly 
in  heathen  women  there  is  not  true  chastity.  Yet,  what 
(some  one  will  ask)  is  the  object  of  these  long  remarks  ? 
It  is  just  this,  to  show  that  usage  has  long  sanctioned 
women  in  attending  with  great  care  to  their  personal 
adornment,  but  with  the  limitation  that  those  should 
always  be  the  most  approved  who  considered  that  here, 
as  in  all  other  matter.-^,  moderation  should  be  preserved. 
Herein,  though  I  assail  no  nation  or  people,  inasmuch  as 
it  is  ordained  that  different  nations  should  have  different 
customs,  and  that  another  way  of  life  for  strong  reasons 
should  not  be  so  much  in  harmony,  and  such  is  the  will  of 
God,  the  ruler  of  all  things,  that  each  people  should  have 
its  own  special  characteristics, — among  them,  I  say,  who 
are  distinguished  for  temperance  and  moderation, — that 
the  most  commendable  women  of  Germany  hold  the  best 
place,  will,  I  hope,  be  established  even  by  this  little  book. 
When  I  had  prepared  at  great  expense  an  edition  illus- 
trated  and  embellished  with  most  curious  pictures,  I  felt 
myself  bound  to  seek  for  a  pattern  of  chastity  and  all 
virtues,  to  whom  (as  Sulpitia,  daughter  of  Paterculus  and 


DEDICA  TION. 


XXXIX 


wife  of  Fulvius  Flaccus,  was  ouce  singled  out  by  a  vote  of 
matrons  as  chastest  of  women,  being  chosen  from  a  hun- 
dred  ladies  of  the  first  rank  to  dedicate  the  image  of 
Venus  according  to  the  Sibylline  books)  I  should,  without 
offending  her  feelings  by  any  unchaste  symbol— at  all 
events,  of  a  goddess  unchaste — dedicate  and  consecmte 
the  female  costumes  of  all  Europe.  And  truly  I  found 
without  difftculty  what  I  was  seeking  as  soon  as  I  turned 
towards  you,  most  serene  Oueen,  my  eyes  and  mind  ; — 
towards  you,  to  whom  the  first  place  for  modesty  and 
chastity  has  long  been  gladly  assigned  with  justice  by 
the  ladies  not  merely  of  Rome  but  of  the  whole  world,  at 
all  events  of  Europe  ;  all  of  whom  confess  with  one  voicc, 
that  Isabella  of  Austria  is  the  very  pattern  by  whose 
character  the  good  and  modest  women  of  this  our  time 
ought  rightly  to  mould  their  own.  Unless  I  had  desircd 
to  consecrate  this  my  Theatrc  to  her,  I  might  seem  to 
begrudge  to  the  most  commendablc  sex  their  exemplar, 
by  looking  on  whom  their  life  may  be  well  and  cxccllcntly 
conducted,  since,  though  my  native  Germany  has  many 
chaste  daughters  besides  (for  I  wish  not  to  detract  from 
the  fame  of  any),  yet  somehow  vve  are  more  moved  by 
virtues  of  this  kind  when  they  shine  in  a  glorious  and 
princely  personage ;  according  to  the  trite  saying,  that 
subjects  readily  mould  themselves,  so  to  speak,  after  thc 
image  of  their  sovereign.  Hereto  I  add,  since  this  work 
treats  of  empresses,  that  you  are  at  once  daughtcr,  grand- 
daughter,  and  sistcr  of  an  empcror  —  not  the  undis- 
tinguished  emperor  of  fickle  Constantinoplc  or  fccble 
Trebizond,  but  the  monarch  of  the  Holy  Roman  Empirc  ; 
— mother  of  an  emperor  too,  perchance,  you  will  bc, 
unless  that  sacred  disposition  which  you  have  long 
proved  to  all  mankind,  keep  you  henccforth  from 
marriage  bonds,  and  claim  you  all  for  Gocl,  with  all 
your  greatness. 

Since  it  treats  of  queens,  you  are  thc  onc  and  most 
praiseworthy  queen,  queen  of  no  inglorious  realm,  but  of 
that  which  has  no  superior, — nay,  nor  cqual,— Oueen  of 
France,  without  an  cqual  or  a  second.    Speak  we  of  mai 


xl  DEDICA  TION. 

of  maids  betrothed,  of  wives,  of  widows,  of  women  veiled, 
or  consecrated  to  God.  You  as  maid,  betrothed,  widow, 
and  all  but  entirely  given  up  to  pious  reading  and  medi- 
tation,  are  the  model  by  whom  they  of  every  age,  rank, 
and  condition,  should  test  themselves  and  conform  their 
character, — that  is,  if  they  long  to  run  here  the  race  of 
life  without  offence  ;  and  after  its  course  is  run,  to  enjoy 
eternal  bliss  with  God  their  Creator.  Accept,  therefore, 
most  potent  and  serene  Queen,  this  small  offering  of  my 
no  small  affection  and  devotion  to  your  Majesty. 

And  whereas  other  ladies  are  wont  to  receive  a  com- 
pliment  from  books  inscribed  to  them,  do  you,  in  accord- 
ance  with  your  happy  genius,  bestow  on  this  little  work 
the  reflection  of  your  glory,  and  favoured  by  God  and 
men  alike,  long  rejoice  in  the  most  abundant  fruits  of 
your  very  many  and  great  virtues.     Farewell. 


Your  most  Serene  Majesty's 
Most  devoted, 

SlGISMUND    FEYERABENDT, 

Citizcn  and  Printcr  qf  Frankfort. 

Fraxkfort-ox-the-Mai.\e. 

ist  March,  15S6. 


11)'«,;;/  cr5  Sons,  Printcrs,  Grcat  Qnccn  Sirect,  London,  W.C. 


Gynseceum,  Smcu 

THEATRVM  MVLIE- 

RVJVUN  QVO  PRAECIPVARVM 

OMNIVM  PER  EVROPAM   INPRIMIS.NA* 

TIONVM,GENTlVM,  POPVLORVMQVE.CVIVSCVNQJE 

dignitatis,  ordin's,fbtus>conditJonis,profefsionis> 

setatis,fceniineos  habitus  videre  eft, 

KjiRTIFICIOSISS IMIS  NFNC    PRIMFM 

figurisjiefe  vfqttam  antehacpari  eleganftA 

editis ,  exprejfos  a 

IODOCO     A    M   A   N   O. 

ADDITIS  AD  SINGVLAS  FIGVRAS  SINGVLIS 
o&oftichis  Fkancisci  Modii  Brvg. 

OPVS  CVU  AV  FOEMINEI  SEXVS  COMMENDA- 

tiomtn  ,  tum  in  illorttm  maximegratiam  adornatum-.  qtii  a  longmquis 

percgnnationibus  infittuta  vitct  rationcaut  certis  altjs  dt 

caufiisexclufiAomt  interim  variorumpopulo- 

rum  babitu,qni  csl  morum  indicium 

tacttunhddeclantur. 


M.    D, 


LXXXVL 


Francoforti,Jmpenjis  Sigifmundi  Feyrabendij.. 


SERENISSIMAM 

1SABEL-L  AM      AVSTRIACAM 

G-A  L  L  I  AE     R  EGI- 

nam. 

ESTEM  QV1  MORTALIVM  HVJVS 
aut Uiitis  gencris ,  quo  bodieque  vtimur,  primifibi 
fecerintffcreniftima  Regina,  vt  inter  auclores  non 
fatis  videtur  conftare,  vnoquoque  adftu  gaitu 
nationifve  homines  laudem  hiuentionis  huiuf- 
modi  trahente :  ita  iliudextra  controuerfam  effc 
opinor,  pnmum  parcntem  adeoin  paradifoad- 
huc  cum  coniuge  fua  diuerfantem  quidem,  fed 
potf  datts,  legisiam  tranfgreftioncm ,  tegminaex 
arborum  folijs  fibi  aptaffe,  donec  hortoillodeli- 
ciariwieieftits,firmioraaditerfusfrigorisiuclemeutiampr£fidia'circum(piccreco~ 
Airus,rhenonibus  ,  hoc  esl ,  rudibusfcrarum ,  pecorumuepelitbus  vti  axpit,quod 
hauddubie  veftimcntorum  in  pofta um exemplar exftitit.  Nam  quod  Eufebius 
att,  in  de pr&parationc .Euangeiica,  quapartc  dePbtxnicum  rebusfcnbit,  vfotiem 
tiefcio  quem  Siculum primum  corporibus  tegminaex  peliibus  ferinis  confecijfe ,  id 
vero  cgoadPhivnicesdumtaxatperttnereftatuo,pelliceis,vtdixi,  tunicisiam  mul- 
to  anteab  ipfoprotoplafto  repertis ,  aut  verius  vt  loquar,&  facrofantiis  voinmi- 
nibus  congruentius,protoplaftoabipfo  omniv.mbonorum auclore Dco  Opt ,  Max* 
ad  vfum liberaliter attributis.  Similifque adcoesllim  ratio,cuius inuentionem 
itim  iibro  VU.Pitnius Aracbnes  hj/cTu  puclisL  beneficium  traderct  ,tgnor  abat  ni- 
mirum eiufdem  vfum  Hebr&is multb tanto  antc  Arachnem  natamfmffe,  vt  cste- 
rarum qnoque  rcrum, quarum  tamen  munus ab  eodem  Piinio  alijfque  firiptortbus 
propbanis  modo  buic3modo  illi attribuitur.  Vt lanifii  tjperitia,&texendi  an  ab 
Ouidio  Palladi,aut  quodfere perinde eil,  a  Trogofeu  Itiftino  potius  Atheniaifibus 
Valladis  cultoribus ,  aPitnio  AEgyptijst  SicFullonia quaveftimcnt a  curantur & 
poiiuntur  cuidamNicia  Mcgarenfi ,  SutoriaEoethio  nefcio  cui,  acu  piiin  vejics 
Phrjgibus,  vnde  Phrygwnes  earum  artifices  ,diuerftcoiorcs  Bab)iontjs,vndulata 
Cau  Citcilu  qtu  &  Tanaquil,  Dalmatica  pretiofiftima  Daltnatis  populn  ,  vt 
contra  aiutumvUiftima  veftu  Ciiuibus k  Vurronc,  Trogo,Diodoro,eodcmque  Pli- 

A    2        ttio 


EPISTOLA 

m  adfcrihunttmf>lafmferka ,  qua bodie nibil  vulgatius, pofierhts  &  inuenta & 
ari  nos  dm  parcius  tranfmijfa  :  cumvel  Aureliani  Ituperatoris  tempore.  Vopijio 
auilore, hoc eil; anno a generis bumanifalutt  CCLXXIV. (ericum auro expen - 
deretur.  Vnde  &  modejiifitmus  ille  Princeps  boloferka  vefiefibiabjiinendtimpu- 
tuuit :  donoc  luftiniano  Prmcipe,  vtexProcopio  difcimus ,  b<tc  quoque  paulla- 
timvuig.trior,acperbocviHorejfeco:pit.  Abbisinitijsvfus  vejiium  orttts  pav.iia- 
ttm eopsrutmt,  vtiam  cultitsfui  operofoinfirumentolaborare  videatunqttotidie 
poui  aliquidexcogitantibas  ijs  artifi.cibus,quorum  npera  omnis  banm  rerum  cupi- 
du ,  &  in  ijspr&cipue  eicgantiorilusfceminis  lenocinatur.  Quifexus  cum  natura 
\pfa ad hocjiudtum ,  & mund'uiemproniorfit,etiam virorum ,fiverumfateri vo- 
lumw,  quibus  fordebantilU ,  qtu  formA proprimn  (jpeculiarebonum  nonarte 
aiiqua,  & vefiis gratia  aduiuarent,  inmodejiia adaclns esl  codefcendercvt  orna- 
ttis  comptufjjfui  vel  primam  rationem  haberett  viros  hoc  quaftiUicio  infv.i  amore, 
&  admiratione  retenturns.  Non  omnino pefitme hoc qiitdem,etfi fuperfiue, ac fu- 
perjHtioshfi hic iBecebrxilU conjiittjfenf.fedpoftquam  nefic quidem  contentipro' 
prijs coniugibus quidam,  ad  vtcinorum  vxores,  alienapudkitia  fubfejforibtts  oculit 
ptale  vtentes  ,  animumAdtjcere  coeperunt ,  inuentaque  adeo fint>  quas iuuaret 
mn  tam  vtris  fuis,quam  vicintsformamfuam  probare :  llicet ,  in  praceps  vefiitm 
licentia  b oni  mores  aclifttnt,euenitg3,vt  nulli  rei  magis  quam  buicdijlipltna  qua- 
dam  opus  ejfet.  nam  etfi.vt  recie  ait  CyprUnus  de  babitu  virginum,  ornamentorum 
4cve{t'mminfignia,&  ienociniaformarumnon  nifi  proftitutiSj&  impudicisftxmi" 
nis  congruant,&  nullarumfere  pretiofior  cultus  efi,quam  quarum  pudor  vilis  cff» 
toaclxfunttamen,veI potius  coatla  videri  voluerunt  etiam  pudtca  alwqui,  tmpu- 
dicarum  inho.cveflium  liixu  moremfeuerrorempotiusimitari,  tanquam  fimtltb. 
vti  diilum  eslMlecebris  m.tritos  retentura:  quarttm  fiuefl  udtum  primafronte  ve- 
nia  non  indignum,  grauifiime  increpat  Jeucrijsimus  cenfor  Tertullianus  ,htsfae 
vcrbts:  Age  nuncjnquit,fiab  iuitio  rerum  &  Milefij  ottes  tondcrent ,  &  Seres  ar- 
bor  werent,  &  Tyrij tingerent,  & Phrygesinfuerent ,& Babylonij  i'ntexercnt,& 
ma.garit.t  canderent,  &  ceraunia  corufcarent :  fi  ipfumquoque  aurv.miamde 
terra  cum  cupiditateproiqfet ,  fi  iam  &JpecuIo  tantum  mentiri  liccret ,  bac  Eua 
concupiuijfet  de  paradtfo  expulfa  ,  iain  lortua  opinort  Ergonecnuncappetere 
debet,  aut noffc .  fi cupit  reuiutfcere ,  qua  nec  babuerat,  nec  nouerat,quando  viuf- 
hat.  ldeo  omnia  ifia  damnata  &  mortua  mulieris  impedimenta funt ,  quaft ad 
pcmpam  funeris  conjhtuta.  &rurfum:\iabitus  fcemina  duplicem Jpeciem  circum- 
fert,cultum,&ornatum.Cultumdicmus,quemmundumuliebremvocant,Orna- 
tum,qtiem  immundum  mulicbreconuenit  dici.  llle  in  auro,  &  argentot&gem'a,  & 

reflibut 


NVNCVPATORIA. 

reflihts  ieputdtuf:  Jftein  cttracapilli,&cutis ,& earu partiumcorpo'ris,qtu cctu 
los trahunt. Alteri  ambitionis  crimen tntendimus,  alteriproftitutionis:  vtiam  bini 
fYojphias dei  anciSaquidexbis  difciplina  tua  conueniat,qiudediuerJishiftitutis 

cefearis/cilkcthumilitatis,accaftitatis.ltemjsalibi:Tcrrafiilicetgloricftorp!a- 
*ie,quoriiaminmakdi£torttm  metaUorum ferahbus officinis pcenali  opcre deplora- 
ta,nomen  terr&in ignircliquicatque exinde de tormentis  in  ornamenta,  defup- 
pUcijs  in delkias,de  ignominijs  in bonoresmetallirefuga  mutatUr. quodimitatm 
Vtderi  poteft  erttditifimus  tbcologuscxVlirito,  quiquamuis  etbnicus,atque adco 
athcusjuxui  \miciratm:?enetramus,aitfm  vifceraterra,auri  argcntique  venas, 
&Aruacplumbimctallafodientes,gemmasetiamt  &  quofdam  paruuios  qturi- 
mus  lapideStfcrobibus  in  profundum  aciis,vifcera  tcrra  extrabimus,vtdigitogefIe- 
tur gemma>quam pctimns .  quot  manus  atteruntur  vt  vnus  reriiteat  artkulus  ?Si 
ylli  efjent  inferijiamprefefto  iUos  auaritu  atque  luxuria  cuniculi  rcfodijfent.Bre  - 
uifimis  ergo,  vtpergit  idem  TertuUianns,loculis  patrimonium grande prefertur. 
Vno  lino  decies  fejiertiuminferitur.  Saltus  & infults  tenera ceruix fert.    Gra~  XXv.mil* 
iiles  aurium  cutes  Calendarium  expendunt ,  &  in  ftritftra  pcr  fwgulos  digitos  fant   cor^ 
dc  faccts  fingttlis  ludit.   Ha  funt  vires  ambitionis,  tantarum  vfurartnn  fub-  nat°ll»a»# 
fiantiam  vno  &  muliebri  corpufculo  bainlare.  quemeundemluxammox  vtine- 
ptumridcns,  vtpote cum aurum  & gcmma ,  qtu  tanti  amatronisfiant ,vilia& 
contemnendaftnt  multis.     AptidBarbaros,  inquit,  quofdam  quia  vcmaculum 
eft  aurttm  &  copiefum  ,  auro  vinclos  in  ergaftulis  babent :  &  diaittjs  malos  one- 
rant  tanto  locupletiores,quanto  nocentiores.Aliquando  re  verainuentttm  esl,quo  • 
rnodo  &  atirum  non  ametur.  Gemmarum  quoe^  nobiiitatem  vidimusRoma  defa- 
JitdioPartborum  &Medorum,  caterorumquegentHiumfuorum  coram  matronit 
erubefcentem,ritfi quodnecad oftenfionemfere babentur. Latent  in  cingulis  fma- 
ragdi ,  &  cylindros vagina  fiu  f&ltis gladins  fubftnu  nouit:&in peroritbtu  vritoncs 
mergere  de  luto  cupiunt.     Deritq3  tantum  gemmatum.habent,  quod  gemma- 
tum  effc  non  debet,ft  nen  comparct,aut  idco comparet  vt neglcclttm  qttoqtuo»- 
Jtendatur.    Proinde  &  veftitm  dc  coloribus  bonoremferui  etiam  corum  ferunt. 
Sed &parietes  Tjrijs &  hjacintbinis  &  iilis regijs  velis,  qtu  vos  operofe  refoluxa 
transfiguratis ,  pro  piciura  abutuntur.     Viltor  eft apttd  iilospurpura quam  rit- 
hrica.  Qujs  eritm  esi vejiium  bonor  iuftus^leaiulterio  colorum  tniuftorum  f  Von 
placct deo quodnon  ipfeprodttxit:  riifi  fi  non potuit purpureas& earinas  oues nafei 
iubere.     Sipotuit,crgoiam  noluit: quodDeus  noluit,vtiqae non licet fingi.  Nou 
trgo natura optimafunt ifla,qiu a deo non  fnnt,  auclorenatttra.     Skadiabolo 
«Ifeintelligunturftntcrpolatore  natura.  Poftrcmo  igitttr  iubet  Cbriftianas  fvmjnas 

A     3  bdC 


Impcratrix. 

A  Vgujlos  habitm  ^veneror^ultuf^ferenA 

Qjiosmaieftatis  tam  bene  complcthonos  • 
AiiFuror  {$  fiqtud  credendum^vatibm ,ori& 
Haudaliter  ccelum  tuce  hilararejui, 


Glu&  magni  mcedit  germana ,  ($  nupta  tonantis \ 
"Vnahominum  regnumqu&ten&t ',  *vna  T)eunu. 

Regnum  hommum dixi?failor:prtmailla  dearit  eft* 
Diuifo  imperio  h&c  regnatin  orbefuo, 

l^egina 


ReginaGalliarum. 

Y)^man^mfortemfaciestambeUatimeb^ 

Vere  ha  crudeles  infua  dona  Deos. 
^Debuerant  ora  h&c  communis  nefcia  iegis^ 
Qua  patimurfati  tempora  quiftfefut: 


Debuerant  ^uultm  hac  maieflate fereni 

Aiiernum  humanos  exhdarare  Joue*. 
StaminaPatraru  mmis  improba,  ^imuda,in  ipfas 

^eginas  vobis  ius  quis  haberededit? 

3  Regma 


Regina  Germanica. 

1D  Eo-iaprogeni&s,  &  regi  nuptu  marito, 
Stcpofitis proditfujptctendacomis. 

jsQc  male  conueniunt  taltfafiigtaform& 
Reortafezalis  lucet  in  ore  <vt<ror. 


^Torqut  qui  ctngit  collumfudauit  Hjdajpis 

oAccolatfW  ^Ntliaflumtnafontebibit. 
Huictorqui  Cjangesmtfitjua  munera,f$  Jndus% 

Hmc  qmfubferofoleflmnta  rtgewtJ* 

%egin& 


ReginaHifpanica. 

^<*A(cua  Geryonis  nontraxereHerculis arma: 
Nee  tmnen  in  vanum  h&cfabulafiiki  iocum  eH« 
Fcemina  Geryonis  talijpechibilis orc^j 

Mouit  amatorem  "vtfumerettUa^DeuTTu^ 


Et  dignaiftafuit  memdicejudice  tf  il/o,  esl 

Cuius  tantilla  tnpeEtoremicafalk* 
Tres  ammas  propter  quam  rex  efftaret  Iberns? 
Herculis  indueret  qm  ter  in  arma  manu*. 

3     z        Trin* 


Princeps  fcemina  Germanica. 

g  Iforet  in  cunBis  h&c  cultw  cura  mcdcjli, 
Qua^arat  Sous^ua^arat  Hejperius: 

Tcemina  non  cenjwportar&t  ccrporeauorurru, 
^jtorumjub  titulis  obrutn  regna  iacewL>* 


Dtfce  hinc  exigua  qm  mutaspafcua gemma 
MiRe  bouesherbispajcerejuetajuis: 

Difcepudkitiam  cun£Hsprxponeregemmisy 
§fua  qu&  commJateHygemmea^ittafkteH. 

Hijpanica 


Hifpanica  prmceps  foemina. 

^s^Onabs  relato  defendimus  oragalero 
<*A  radijsnobis,  ^Phcebemolefte,  tiw. 

Qmdtamen m noftris nimium dumperfuris  oru 
Jmprobus,auerfo  cardine  lenttts  abes? 


Jllicte  'votispofcuntiuuenefyfenefcfc 
Hic  execrandtts  dum  mthifemper  ades. 

<tAn  tibi  tucundum  eBinuitas  vrere  terras? 
Sipudor  eSlfopulostranfiadHyperboreos. 

2    j         Matrona 


Matrona  primaria  Italica. 


T  <Talicish&c  e&notifiima  <veftisin  oris, 

Cuius  tegtttmo  eftfubdtta  ^vita  iugo. 
Terfora,per  plateasstaliprocedtt amicltty 
Taltfefltuosnupta  adatura  choros: 


Efttfe  quidetlle ,  neget  qius  enimhoc?  digniftmuso^ 
^artesmaritaltquemgeratauElu  toro.      (mm 

Ntlin  eo  tamen  <vt,meiudicejureprobari 
Debeat  hoc  comptu  Itbermemagis. 

Virgo 


Virgo  ex  illuftt  i  Fuggcrorum  familia. 


V*  Tnatx  <vifa  eH  comptu  hoc  Fuggera  Diones, 
Conflitit  adrofeas  obflupefafh  renas.  * 

Conflititadcrinemdonatum  lambere  <vento 
Ze/otypo^JIuxas  col/aperalba  comas. 


Inter  &h&c  tllt  manibm  cecidere  remtfis 
Cmgida,cjU4s  ipfum  esl  vrerefueta  Jouem. 

Qmfimulinuafit  vtrgo  Fuggerajam  ab  illo 
Vrit  amata  hommes^rttamata  Deos. 

Fcemina 


Fcxmina  Romana  primaria. 

J^  Omangs  habttmcernisquicunfyftolatos, 
Jsfeminreflola  luc  cfuoadmoneamur  habct 

Jnfl/m  ion^apedes  fruftranec  tendst  ad  imos> 
Matronam  h&c  talis>  ^uttta^  flriliu  decct. 


^Adfficcvte collocarbunculus ardeat  <vtcffhic 
Splendeat  Armenms  tuncio  adamante  lapis: 

Sicdommasdomtnafas eliincedere  m  <Vrbe^: 
jnduuU  exuuias pe£toris  orbishabenfcs* 


Priaceps  Foemina  Gefmanica. 

"pRinape  dtgna  *vtro  coniunx^  Principequonda 

Natapatre^ac  Ducihm  qm  celebratur  auis: 
^Princeps  Teutonkisficjcemmaprodit  in  oris, 
Mores  vultuipfi  tefiificatajuos. 


Jn  quo  dum  comisgrauitasfic  ludit,  vt  iuam,  QT 

Quam  deames  dignam,  {$  qua<venerere,putes: 
Vtilemifiendodulciillatemperatarte, 

Tetnca  vtinequefit  Jit  neque  blanda  nimu. 

J  C        Comes 


ComesGermanica. 

^Almata  eit  <veftis,<veterum  gcftamina  regum, 
PrincipibufcLpare me quoque  turba  colit. 
EHautem  titulus  comitis.quta  nempe  mantm 
Jre  comes  magnisregibm  vfquefolet. 


^B^egibm  Atate  hac  ettam,nam  temporeprifco, 
Hicfoh  eft  habitm  C&fari  gf  ipfks  honos. 

Sedfeu  Czfaribmfeuregiproximmillc^ 
Eftmem9hutc  rofeis  vnieo  comptagenis. 

C    2  Saxonica 


Saxonica  foemina  nobilk 


\30bditatemeinonignorandaparentu, 

Clarior  at  clari  nobditate  viri, 
Inter  Saxonicasfrontc  hacmatronapueiUi- 
Saxonico  incedo  confociata  toro. 

HHk 


&£on  triftunimium,  nimium  non  blandamarito, 
%esfcatet  h*c  njitijs9neccaretiUafuis. 

Intcr  rvtrumque  nitens  comi  atgrauttate  fcrcuo, 
Nubem  contraclt  iungopndicut&. 

C    s         Mifniaca 


Mifniaca  matrona  nobilis. 

Y/T  Ifhtaca  esipollensopihisdegente  maritus, 

Quxmic  viro,  h&c  eadepatria  origo  mihi  est 
J[Uforistractattratiandancgotia,noflra 
Jpft  mcafumproparte  opcrofa  domu 


Teltcts  thalami \feltx  concordia  lecli, 

Offcijs  hisquem  mntuus  ornat  amor. 
Taltbusauftcijs  qui  conuemfiis  in  vnuwu, 

Vtmtc  terfauftofcemina,  virfytoro. 

Franconica 


Franconicafoemina  nobilis. 

^Fpminter  Francosfednonde  plehe,marito, 
Hacfe  vefte  tUi  pojfeplacere  putat. 

J\(jc,rii(iiudtCijfallor,matronapudica 
Frontis  cultu  alw  contyictendajuit. 


J\£am  *velut  alterni  ludunt  in  veflecolort? 

jn^  oculis grawtaSiC&teroinore  lepos: 
Sic  ornantanimum  virtutesplurtm&^ tnter 

Prtmahas  legitimi  cura  pudicatori. 

D        Talatin 


Pahtina  matronanobilis 


iijs 


A  Vla  ^PalatiniJurgit  quacelja  leonis^ 
Stfamulis  ^Khemnobtlitatur aquis: 

Sic  equitis  corimnx,  equite  ^  prognata  parentt^j-, 
Jpfaq^nunc  equitum.aut  deinde futura  parem : 


Sic patrias exculta3tnquam,(f?atiatur 'advndas* 
Aureaficfefto  tempore  templafibit. 

*RJoene?  quid  exultas^glaucaq^  emergis  ab  <vlua? 
Fallor^  an  hac  vija  cor  tibijubflijt? 

D    z    Hafiaca 


Haffiaca  matrona  nobilis. 

g  Irettnfacie  incedoffrontepudorenu 
Sicteftorfit  vt  hacfemiadoperta  mihi> 
GlujdmirumJOctototegitnr  Vefialeprofeffa 
Caftum.matronam  libera  vela  decentJ. 


^Uelapudicittam  non  exclufura,  venufias 
Nulli  <vt  claufa  nimispt  mea^apertu  nimis. 

Sumite  ab  Hafiacis  Exemplum  nobile  nymphis 
Matrom :  hacfuerat  wjle  tegenda  Venus. 

D    3  Mifhenps 


Mifhenfis  virgo  nobilis- 

Xflrgineos  comtm  agnofo.Mifnkin  orOf 
Jndicit  quotiens gaudtafefim  Hymen. 

Reticulo  crmale  decnscohibetur  in  orber/u, 
Quoddecorant  violis  floreafertafiw. 


^jiorumfimemores^trgojoaudoblimtuids, 
Cuiusfcproperatperbreueforma  bomnru, 

Vterisfacie>qiu  tam  ctto  defctt^ianu 

Jam  (fonfhsjihinunc  qmprocminflat,  erit. 

Saxonica 


Saxonica  virgo  nobilis* 

V[  On  egofucata  cupiam  contendereform&> 
Et  commercatis  irefuperba  comis: 

MoUibus  Italica  hac  faciem  njultuyncLpuella 
^Adiuuet  artefuum  coinplaaturaprocps: 


Jpfamemorqu&fim,  quisin  regwmbus  orta, 
Sat  duco  ingenuum  hoc  comere  more  caput. 

Mafcula  corda  internimirum  naiu  <virago, 
Prodibo  infettisprodigiofagenis? 

8       Franco- 


.  ,      Franconicavirgo  nobilis. 

p  %ancontcam  ecce  tibi  at  de  nobilitute  pueUamj> 

oAnni  cm plena  vtrgtnitate tumensL>. 
<iAiwosaio?tUud<volutfc  nempe.paptlU 
Cuiplenadudum  virgtnitatetumentj. 


Qm  f  cui  ftmtlis  ft  qmris,protinus  edairu:  esi 

TalisDiBynnis  nota  Dtanaiugis. 
Talisfedp  ofitis,  veftis  cum  fluxerit  th 

Jmos  vfquepedes  >  injiattone  comis. 

8    2        Vatricia 


Patritia  Auguftana. 


^STIn  dicam.anfktu  efipro  nominefigna  referrc^ 
H&c  adeo  qu&fit  fcitula^  vndedomo? 

Sedfeti  fignafatistibi  (unt->>ex  <vrbe  (uperbaeft- 
Alter  cm  Csfar  nomen  habere  dedit* 


Seu  magis  omifiis  rem  vis  ambagibus  ediy 
Augufiam  habitum  ciuis,  {$  ora  vides. 

Gfuzrere parce  vltra:  e  vultutacitufi^tacentis, 
Et  rofeo  tacite  c&tera  in  ore  lege^j. 

E    3        Fcemina 


Foeminaplebeia  Auguftana- 

\7 '  Sflttutenuihoc  $Augujlan&  vrbisalumna 
Gaudeo,plebeiam  in  nuptn  locatadomunu. 

J\(onquianonpofirnMbeatJi,cultibmcuti 
Commendentform/i  qui?nage  do?iame&* 


Sedquia  fi  me  alijs  comam  exhaurire  maritunu 

Cogar  fi$  infami  haudfim  carituranota: 
Stfolifatago  cui  debeo  vette  placerc^, 
•   Sicilli  wideor  compta^enujiafatls. 

dugujlana 


i 


Auguftanavirgo. 

JNgenuo  sAuguftana  ferox  hocorepuellaeU? 

Comttbm  hisflexis  hac  ratione  comis. 
Tatriciumcfe  rvfturaprocumfic  ducere  curas 
Ceffatum  adpulfamgaudet^amati^  chelyn* 


Vrerefed  quidte  iuuat  improba,  quopot&s  vti? 

More  tibi  hic  alio  conciliandus  erat. 
^Abnuis^dignam  reritt<Lj,quamrogeyt?ergo, 

Virgimta*  tua  eiconciliandafuit. 


AncilU 


Ancilla  Auguftana. 


Q  Ic  bis  cintki  forum  peto  profpefcdra  culin&, 

Siccjforo  redeo  rurfumoncratadomunu. 

Augufta  Augufl&  qua  furgunt  tcmpla,puellis 

Gratus  <vbihicnoflr&  conditwnts  honos: 


Pellito  innodum  tortas  cohiberegaiero 
^Qonflexu  errantes  Uberwre  comas. 

£t  tuntca  extremas  limbis  bicoloribm roras 
Signare9ac  cupidumhac  <Orere  vejfe  procum^. 

F    2        Sueui- 


Sueuicavirgo. 

(^  ^Kinihm  intortis  Suems  e!i  curapueUis 
Prodtre^  nudum  an^ereflorc  caput* 

£\Qempe  vtzam  veterescrinem  torfiflfle  Sjcambrosj 
Siieuis  quisgenshaudres  alicnaflutnttf. 


Aflj?ice  quamflmplex  ^jeftttm^cumtamen  oris 

Gratiaflt  nulliflorte  pndenda  minm. 
Cultus  conueniens  illis  operoflor&quo  es% 
Qma  nuda  metuuwL>  fronte  placere  parunu. 

F    3        Augujlana. 


Auguftanatemplum  adiens. 

IJIc  habitu*  templam  cslAng{ft*adeunti*,abejto 

Quifyfoties  votis  votaaliena  meis. 
At  tn  cuiftudium  cur&pietattt9$  ardor 

Jn  fcnclnm  firacia  relligwnis  opus9 


Lmea  in  articulis  erret9crebrod  recurrat, 

Jmpleat ■  gf dextrampagmafacrajnanunu. 
Omnia  vtifaciasnunquamjat  digna  merendo 

Terfoluesdomino  votaprecejci  Deo. 

Tatricia 


FrancofurtenfisadMoenumpatrkia. 

Q  Vmmo  vrbs  cara  Deo}cjiii te tot dottbm auxit . 
ZJrbs>  qu&3qtu  optznturfingulajunikitenes: 
Felix  nomtnibm  cumfis3meiudtccmji-tmultis: 
Cumfis  ^uicinis  tnuidiofatius: 


Vel>tnmen  in  reltquis  esl  cjuo  te,  vrbs  irjcS  ta> 

^Pr&ctpuunuyhis  tantisfcemina  nata  bonis. 

Morum  <vbt  maieftatforms.  dumcertat.ab 

Sctltcet.tlla  gab  hac  cur  mage  ament 

G        SponJ* 


Spon&  patricia  Franccfurtcnfis. 

\\ALccine,  Mcenepater  >  natarnm  eft  <vna  tuarn\ 
<*Ah  non:  ^Qatades  tvejiis  honore  careivL». 

^Undedomo  eft  tgttur,  noel  qui  genuere  parentes 
Hanctalem.an  nohis  ccelttus tUavemt? 


Mcenus  adhacwrhseft  noftrax  qua  maxtmaadvn- 
Etmeo^Atlantiaci  (^tantafauoreDei.     (daSj 

Hacce  'veltpjietiam  ccelofefe&quatalumna: 
oAdJfpiciaffa  MopettQradignaputes. 

Cj    z         Spcnja 


Sponfa  plebeia  Francofurtenfk 

p  Lebeioiungenda  virofictemplafrequento, 
JsQon  omnes  eademres  &rubiqfdecef. 

%JfcL  tu&fortisfapies  qu&cumq^  memento, 
Hocte  Francfurtificemina  natamonef. 


oAddit^  <vt pudibundafioris.operofa  domifis: 
Exemplo  gf facias.quodfacis omnefuo. 

Dignaquide  patria  hac,  ^tam  clar&  vrbis  honore, 
Qju  re,quodJancit  ^voce.manuq^probef. 

G    3        Francofiur- 


Francofurtana  mulier* 

TJJEcFrancfurtam  efl  laudata  modeflia  nupt&> 
^Terfora  'velatum,  templaqf  habere  caput. 

sAdjbiccfmplicitasquantd  efl  tn  vefte  ,pudom 
%Jt  multum,  Gafa  nillemtatu  habet. 


Nempe animimaUehas.quamcultus  laude placere, 
Ornari  comptuqm  potiore  negarvL>. 

%)t  tamen  haudcaptent^ammi^non  laude  placebunt 
Tantunuform&  etiam  cur  cupiantur  tnefl. 

Francofur» 


Francofurtenfis  ancilla. 

Q  lc  me  maadat&  tu  uat  inferuire  culina 

Francofurtenfes  natam  habitare  Lares. 
Sic  redeoa  lanionedomum.fc  pifcibm  emtis, 
Stc  opusad<variosquismihi  cumque  cibos. 


^uosfmulimpofuipatinis  iUorum  in  odomru 
Ccenat  cdiipfi  cumjoue  turbafuo. 

Mentiri  cenfes?qumficottumirerecufo, 
Jncce  nata  eademcumjoueturbafuo  tB. 

H  aAncilla 


Ancilia  Francofmtenfis  templum 

adiens. 
T-XdEc  eH  anciUa  templum  accedentisimago: 
Francofurtenjes  Mcenm  <vbiauget  opes. 
^Adflice^vteH  ^vultus trifli gramtate mode/im, 
Heflerm  reliquum  <vt  nilleuitatu  habet. 


~Per  Venerem  iures  eadem  nonte  ora  tueri? 

cBlanditiefy  'vbifittUaflerena  roores: 
^Qmirumfludijshen  erawL>  aptata  prophanis? 

Congruafu?vL>  ^votknunceadcmillajuis. 

H    2  Fcemina 


Foemlna  plcbcia  Francofurtenfi^ 

TJAZc  Francfurtitna  eft  ferme  iHisve/tis  in  vrlc, 
Quas  iunxit  iuflis  ignts  Qf  vnda  viris. 

llla  quidem  cenjum  non  exhauflura  mariti, 
ZN^ec  tamen  ex  omni  non  benepartcplacens. 


Adde  qubdeslhabdis,  qubdidonea^  aptaoperajt 
^B^es  oblatapetat  quantulacuncjsdomi> 

Turpe  eflmatrom  pr&  cultu  diuite  £$  auro 
Non  operimterdumpoffeadhiberemanHS. 

H    j        Virgo 


Virgo  patrlciaFrancofurtana. 

T  Vrridulas  (irophioquid  amascohiberepapillas? 

^Tambona  res  cnntlis  infpiciendajmt* 
Jnuidamateries  qm  tefortunabeamt^ 

Multorum  votaheulmtea  w/iishabes, 


*Tu  tamen  ofaltem  cara  tuapeciora  matri 

D^Quda^  clamabtt  protinpts  ipfefinus: 

Jam  ynea  ^jirgmitasplenis  esl nubilis  annisy 

Ogenetrix,generi  cura  nec  ru\la  tibi  esl? 

Rloribergen* 


Norimbergenfis  matrona. 

\-\Oc  hahituincedofeftk ornatadiehm, 
*Orbe  bacpatrictjfliasnupta,nurm: 

Quam  trepidufuhmtjfmaquis  Pegnefjm  adorat? 
Noricm  &  circum  cuifamulaturager. 


T)tc,Mome>anne  aliquiddefummo  wrficejumma 

Jn  mequodcarpas  cern  is  advffepedes  ? 

Nempealiquid:  nec^  enimpotem  non  carpere>quod 

Carpere  quodpofk  Imidm  tnuenias.  (r2"; 

J        Tatricia 


PatriciaNonmbergenfis  pervrbcm 


itura. 


*TEmpH*,res,locHt,f$ratio  diuerfa  monentnos 
Longa  h&cnunc  teftis  palliafcrre  togis: 

Syrmate  nunc/olo.negledopal/ij  honore^j, 

Vcrrere  humum ,  f$  Ixtosducerein  orbecboros. 


j^Qon  mentis  domina  illafux,  e£i>qu&  tn  cycladefefc^ 
^Profhtuitlimis  per  ^vtam  ttura  viris: 

^Rjtrfum  nonfapit  huic  cornotos  tnter  a?nicos 
St  qua  domi  chlamjde  f$  'velo  adopertafedef* 

J    2         Norim- 


Norlmbergenfis  iponfaPatricia. 

\$Audanda  antiqui  cernovefligiamoris, 

Conflio*  Vrbsjantum  hoc  macie,beata,tiio. 
JVLoribmantiquisfiabat  T^omana.nouis  mox 
u&  ruity  ^ pejfum  res  eadem  omnis  ijt. 


ftdaSie ergo:^)  tu ,  Jponfa, nouo  ducenda  marito, 
Si$,ofuodes,antiqu&fmplicitatisamans. 

Fclix  Patricio  qm  natu  eflemmatenatos 
Tatriciofmiles  nupta  datura  viro  es. 

I    3        fN^orim- 


Norimbergenfis  virgo  Patricla  nuptlis 

ornata. 
Q  lcjepatricijsfollemne  ornarepuellis, 

GemmifcL  induBum  cmgercforecaput, 
sAdfefiosqiiottcnsgaudcntinccdcreccetHS, 
Cumjocw  indtxit  quosgregepatlm  Hjmen 


ZN^orimbergenfis  qua  fe  refiublica  cdo 
ToUtt^eHpopulttota  in  honorejui. 

Perjffidem,quicunfy,  tuam,  num  culttor  vjquanu> 
fhQum  vija hac  oculispulchrwr  vUatuis? 

Virgo 


Virgo  plebeia  Norlmbefgenfis. 

5  Icorpusjolidum,fucco%  tgfanguineplenunu, 

Jnpretio  eft,pretijnonmediocris  ero. 
£xilesgracilefq^artm fbifngat  oAthenis 
Nata^elin  populis,  oAufonis  orajms. 


^Teutonis  orafugit  captata  iunceaform& 
VeBorafubduttis  ipfo  f$  ab  ore  cibit. 
EtNorimberga  hasqm  meproduxitinauras, 

Forma  contentam  mc  iubet  ire  mea. 

K         Ancilla 


Ancilla  Norimbergenfis. 

iMperiofifiam  creda*  feruire  Sabim, 
Tantumipfo  in  vultuftueritatishabct. 

*~Brachiacf  a  cubtto  clamanL>  nudatn  cuiin& 
Gaudere  omnijugum  perpetuam  interopus. 


Et  tamen  hac  etiam  vintto  interpeciore,  f$  ipfs 

Vrodttfiaduertas3non  tnhoncragcnis: 
Ta/es  nempeoltmfamulasvixiffe  Sabinis, 

Dummeruit  cdotolkrc  %oma  caput. 

K     2        Lpfc 


Lipfenfis  matrona- 

fi^  ^Tergo  Atutis  iam  tempora  verna  reliqtti, 
Corde  ex  hocnimu  cedite  munditia, 

"Defidtafaciem  longa  *vosquzrtte  Nymph&, 
§lmrtim  halant^primaslaciea  colla  rofts. 


Jpfit  operofa  domipueros  educere  nato$> 

8t  nat  asfktagofingere  voce  meas. 
Officium^mihigenetrix  quodpr&flitit ,  illis 

Jmputoieafi^eadem  curaaliquandomanet. 

IC    j        Li[fict;> 


Lipfcnfis  virgo, 


T  Tpfta  Germanis  non  vhiwain  njrhthtu  vrbsefl, 
Virro  1'btfic  itcitosgaud&t  tntrechoros. 

JsTon  Gblttafuitllacjutdem,  aut  oblita  parenturru> 
Velpatri&,tn  nullaparte  notanda  tamen. 


S^amcpgemma  comasjtringit-cp  bracbia  quajfant 

oArmillas  auro  demeltoreduas: 
Jtylorefit,  ^cenfu  pofcente  hunc  diutte  cultunuy 

Metirifas  eftfepede  quenquejuo. 

Fcemina 


Fcemlna  Argcntoratenfls. 

J^Rgentinenfemfcferturnuptapervrbenu 

Fcrregradiim>cafiumfndoneteBncaput. 
Scce  vtpronafolumficcfet,  vultufyfiuero 
^Qullum  nondtgnumfimtnitetur  opm. 


Sic  decet  in  communefuum  adtutura  marttunu 
Qiu  quoduisprofehaudferre  recufat  onm. 

Et  cjUAgnaua  domi  natis  operata  creandity 
Hosfacicnda  eadem,bosqmfugienda  docct. 

L  HeiJel- 


Muller  Colonienfis. 

XJQcce  indutz  habitufacra ,  hocce  prcphana  fre- 
Agripptnenffcemina  natnfolo*  (quento* 

Sicmetempla  njide?vL>  ornatnmficforayfcad 
Cognata  vifwn  lim  inagentis  eo. 


Dentjhona  multailli  dl>qu& ,  dum  hac  repperit  vti* 

Confuluitnoftr&  veftepudiatk. 
Qju  dum  nudapatct  nimmnu3nuUo  abdita  velo, 

Dum  totidempatitur,  vulnera  millefacit. 

aAncilla 


Ancilk  Colonienfis. 

XTfrginibufmoseB  <tAgrippinenfbmipfo 
Tejlari  inta^hmcrinepudicitianu. 

Verticenudato  f$  cjuovusprocederefeu[i?vL> 
PlebeUfeu  de  nobiliore  domo. 


Tnt  reltquufamulas  tamen  hocferuare  videreeft, 

6)j4&  nexis gaudentfcforaadire  comu. 
*Tam  benedemirarehabitam,f$  tamcorporefacci 

Pleno  l  habet  arbitrij  quodcowit  omnefai- 

M  Virgo 


Virgo  Tlgurina. 

XJAZcwreformaeB.qw  vxoria  dicituriolwu 
Jam  lau&ata  &uo>  l^omule  die,  tuo. 

Forfan  ($  Herfdiam  tali  nituijfepudort^, 
Cum  rapta  injacrum  eH,pr&dapetitatorurru. 


QmdecoringenuinjulttislquAgratiafrontis? 

Tallada  te  torto  crine  videreputes. 
Mattebonis  generoJatuis3ma£le  ore><virago>hoc 

tPimora  moxpatriomulta  datura  fblo. 

M    2        ISafutenfis 


Bafllienfis  matrona. 

J  Tala  terra  dabitcultasfnemorepuctlas, 
^PlmtjJatiscultas  Galhaterradabit. 

Germanis placet  hocinter  nimium^parumque^ 
^updmedmm,certotemperat  tfa  modo. 


Ethenc~>:  namfemper  mediumtenuerebeath 
Simpliciim  nobis  gratior  luc  tamen  esl. 

£dj?e  minufj.adeo  curanutritaprobantur, 
Quamprocuiwfolis  arbuta  nata  locis. 

M   s  Halenfs 


Halenfis  Sueuica  fcemina. 

(f^OmhergtQocharispronus  qua  maxima  adorat 
J\Qumquam  non  animo  templafutura  meo, 

TJictnis  habttu  hoc  incedit  nupta  Salinis, 
Halenji  Halenfts  confbciatu  njiro. 


jn  qua  ceruffasfi  quisfucofq^  requirit, 
Falltturjngenua  hactaliaformafuvjit. 

Sed  cafium  corpus  cafafimente^j  requtrit3 
Ecce  iflarru  inprima  exempla  pudtcitU. 

Franconka 


FranconicaVVirzeburgenfisfoemina. 


(~)  V&cunq  cs>multer,qu&  credisddotia  natunu 

"^*""  Fcemineumfexu  debiltoregenm, 
Dtfec  qutd  Herbtpolt  prognata  hoc  fcemina  corbc, 
Conjultt  contunxft  ItccttUa^ueiit. 


^Qempe  opere  afiduofacicndo,  &  cfucdmbot  vfaf> 
Stueforis  cpuseflfue  labore  domt, 

Cfnaim  exercenda  ettam  fua  membra  puel!tsy 
Otianevetitis  pabuladentjvttus. 

JSl        Frarico- 


Franconica  mulierplebcia. 

}s30ntepert£fus  Flor£>demittetimorc?n~>, 
oAd  Veneris  Zephymsfolltcitaba  opits. 

Sulcisfronsfaffa3f$facies  excofki  diurnis 
Solibits  9  ac  fpurcis pes  lutulentus  aqws. 


ZN^onfaciunt  Zephyroy  nec  tute  parte  placere  hac 

jllhfedgnauo  pojfe  labore  ^velis. 
Trifca  tibt  hortorum  f$  duret  modo  cura,placcbis 

HaCifolito  njheriffl  ($  ttbifurget  olus. 

N    2  Fcemina 


Fcemina  Mifhenfis  nobilis  inlu&tr. 

^AJEcJunt  Mifhenfis  nuptd  lugubria,feu  vir, 
Seupater  efl  lili.caraue flendaparcns. 

Sednon  cuiufuis  nupta  lugubria^  verunu 
U^obilior  quarum Jiemmatnjignat  honos. 


fUulgmnempe  decefqu&Juntj  vulgarta>  nobis 
Hac  non  eximium  nilquoq^partcplacct. 

Sed  cu  Itm  talis  quarum  esl  lugcntiunu.amabo 
Qualem  hunc  nubentunu>quifipit,  ejfeputct  ? 

]\l    3  Thurlth 


Thuringlaca  virgo, 

Q  %at'ta  qmform&  h&c>  teyieris  qutfveindtdit  an- 
Hoc  htUri  mtfium  cum  grauitate  decus?     (nis? 

Dlne  Thurmgiacis  hoc  conceffere  puellis, 
oAn  Gentasfauftt dona  dat  iftaloct? 


Sedfeu  Dfqutbns  eft  orbis noftrt^poteftasy 

Seu  Genmsfauflt  dona  dat  ifla  loct: 
3^Qunc  ego  me,Junonis  auis  quotcf^  abflultt  Argos 

6fuotcLmtca?vL>nofl;ulumina,  habere  njeltnu* 

Stlefiaca 


Sileilaca  matrona. 

C\  T^namenta  meo  non  infcianda  marito 
H&cfitwL>jne  quottem  menfa  aliena  vocat, 

cTemporapellttpts  muritt  demoregalertts, 
^Palliafunt  longis  moUia  ($  ipfaptlis. 


Vnde  domo3tf  cumqmrisfimnam  ordims?orts, 

Si  nefcis ,  ortnm  me  aio  Stleftacis. 
Tlebeijd  viri non pcemta,aut pudef.hicfit 

SicmihidunuMidmagntsregtbHstnuidco. 

q  Sponja 


Matrona  Succa  nobilis. 

\Ngenui  tvt<vultmficeFlmatronapudoris 
Jngemi,  f$  quondam  h&cfmplicitatis  amans^ 

IJtdputo  Latmfc  incejferepuella, 
Sedreftidoneccura  eotn  orbefuit. 


J^Jlfuper  in  cultu  efl^  quodmirerejuperfit 
Cumnil,nil  decori,£$ pajfa  deejfe  Juo  eft. 

^Qata  Mavtis  claris>claro  coniuntta  marito, 
Suecia  vbiincerto  tundituritta  maru 

Lubecenfs 


Lubecenfis  matrona. 

Y^Vbecumpatria  eff:  ibifeornataper  vrbenij 

fncedo  reiiisnuptafupercilijs. 
Matronam  decethocnullm  confciaprobri 

Qu&foci] firuat  iura  verenda  tori. 


Qft&fy  abfente  <viro  eft  eadem.pr^fente  virocb 
ffiQecfat  quidnutufit  dtgttif^  locjui. 

Felicem  nimmm  tah  hac  cuxore  maritun^ 
JsQon  onerieH  tttih&cfedmage  prxfidto. 

T         Damifcd 


Dantifcanafponte. 

Q  Vis,cuicorJapiat,Dantifcinefciat  norbem* 
**""  Uicino  late  reddere  tura  mari? 

J^otaeHiUa  opibm3celehrinotifimafamaett, 
§lua  domus  h&c  Thcebi,  qua  domm  tllapatet. 


Hac  ergoin  fali^tali  ,deduciturrvrb£_j, 

(ultujegitimiiura  initura  tori* 
$Augend&pro  partefua  cui  dumftudet  ^unihsLc: 

Crede^jwiro  hocnon  eft  nuber^fedpatrm. 

T    2         aAncillar 


AncillaDantifcana. 

Q  Vtdmtrum  ancittis  fiqui  incaluiffeferuntur, 
^^  S&peefiam  ancilid  cur  cupiantur  habentj. 
^Pes  nudus  tuniciscontettoplusmouct^  plut 
Cerea nonfalfisbrachiaaperta  bonis. 


Deinde annbn  <vultus  tjuofy  hab&tcjuo  iureputetnr 
Taiisnon  rigido  poffe pUcereviro? 

Eiahabef,at  pernos  operetur  pura  culim  hxc, 
Telid&famulus pettora  vexetamor. 

P    3         Ducis 


DudsVenetivxor. 


Q  %tnfalo,at  magis  aptnfolo,  Venrn  aurea  tulis 

oAnchifi  incefit  concubiturafho. 
Jmmbadeo  Anchifes,  libeatfverafateri, 

Ghtam  Veneri,huic  mallct  compofuijfe  latus* 


Zeuxis,  Apellef^  ha  numero  cur  mortuiabifiis 

aAdplures)  vefiro  h&c  dignacolorefuit. 
DuxVeneteomifisproperaadtuagaudiacuris, 

Semtdeum  h&cpotisefltefacere  njna  Deu/ru. 

Vene* 


VenetaPatncia. 

^  Dftkepatricia  eximiam  deftirpepuellanu* 

VJurpaJJe tuo  £5*  lumine  crede  Deanu. 
Dicopatriaa  nuptam  deftirpepueliatru, 
Hadnacis  Venetiqua  dommanturaqiM. 


oAdftice  vtincedatjoue  digna  peromrua  coniunx, 

oAdfticevt  incedat  ^veljouedignaftror. 
Saturno  nate.hocdejcendere  tempore  olympo 

Fa$  eratjwctanti  debuit  ejfe  tibt. 

Q^  Vcncta 


VenetafponfaPatricia. 

£  Vadne  haudaliter  vultum  deiecht  modejlwnu 
Dcdutln  eftmagninuptafutura  ^viri. 

Jllafedaufptcijsfata^vtdocuerefintfirisy 
Hacquodfberarc  eflper  rata  vota,bonis. 


Dic  mthidtc^orte  inperegrinis genttbus  hojpes, 
Cuiftnt  vifa  folo  plurtma,plurafolo, 

Vidiftinealtquid,  magequodiuuet  vfy  <videre^j? 
J^Qon.  <vt  'vifa  oculisftt  Venus  ipfa  ttus* 

Q^  2  Virgo 


Virgo  Patricia  Venetx 


XT  Oncgo  mutandis adeam  temercibiis  vmquam 
T^cgwa  Hadriacis  cjtu  domwarisaquis: 

Mutandis  adeat  temerabus  alterjn  cftro 
G^ucm  muct  egem?na  duccrc  *vinajua: 


Dnmficfitsjaleant  cumgemma^  mercibns  oftru, 
<*Alt  era  cur  te  adea,  vrbs  mclyta,  cauffa  mihi  c  ff. 

Caujpi  probanda  cjuidem,fcdc]Ham,fi(ctre  laboras, 
HacfacieinfbecTaextemporefcirepotes. 

Q^  s         Tatri- 


Patricia  Veneta  habitu  seftiuali. 

JC  Stus  vbi  inualuit,  Thoebufeflagrantia  terras 

Excoquit,  %$  calido  effpofe  natnremari: 
Tum  Veneta  hocgaudet  evefiitufoemina,perquen, 
oAuram  defciens  Fberet  haberefnus. 


Et  quia  fipe  opvtseFlfaffo  calido  aere  vento: 

Apta  operi  huicfumit plumea  texta  manus. 

Jte  me&  comites  cingamus tempora  (ertis: 

^P&Jtanas  halewL>pe£toraapertn  roft4. 

Veneta 


Vcrietamatrona. 


^STT^bsfehxjres  quam  dlnon  de  plebetuentur, 
Quam  Venus^  Tethys MercuriuffJouetvLu 

Equibus  hic  lucro  adfbirat,gnauocflaboriy 
Succeffus  defit  nejuus  <vnus  agtt: 


carmas 


Jfla  vltrofcetas  externa  merce , 

oAdte^tnoncupiant.carperecogttiter: 
Jlladat  hac  multasformaprtfantepuclUs: 

9  mdplura:  omne  optat  quodreliqiu  vna  tt  nes. 

**-  r  %^       Veneta 


Vir<jo  Romatu. 


ILia  rali*  cratxum  wargine  Tybridu  olirru 

TieUorum  virro  eft  corpore  pafa  Deurru, 
rBKomanam  agnofcofactem grauimtefercna 
Comcm9qualis  (£  tn  inrgtne  njulttts  erat9 


Forttor  ipjajuofexu  qtutnde  amne  natuto 
Hetrujct  abfolutt prdta  lenta  Ducis. 

Fattor  an  tngenium  £$ 'talisttbijocle  Troperti, 
Jrtgenmm^ttbhculte  Ttbull^Jabat? 

^omana 


Ronnna  focmina  proftrat£pudidtiar. 

f^  Afta  habitu  hoc  pot  era^cumno  fim  ca/la,<videri} 
JA(V  notnmimpingat  confcia  cI{oma  notam. 

Lumta  proterua  petit,mens pofcit lubricaycorpus 
Cinuis  notlepat&t,  tucepatet^meunu. 


Hafia  confertis  apte  infertare  labeUis, 

Jlliabufy  viros  frangere  lumimbm, 
Toffe  meu  ettjgnem  hunc  horrens  accende ,  calejces 

PltisfatisMc  rmtii  ianua  noftra  negat. 

S        yQapcli- 


Neapolitana  matr  ona. 


(chi 


XTO//  male  Graia  iflis  ^urbs  primaab  originegan- 
Culttbus,  hosfqutdem  nunc  etiam  Hellas  amat. 

J\fam  ojuod <velatur facies perflrata  viarumj. 
J^Qudadomidomtno  qiupatet  ^j^fro: 


Jndicium  folt  eftme  deferuiremartto, 
(tArbitrium  cums  cur  alienm  agat? 

IJtdtt  teproles,  L  ucretta  cafla,  Superbt, 
Tetifimulviditperdidit,  ^pervjt. 

S    z 


Vino 


Vlrgo  Ncapolitana  nobilk 

P Arthenope quonda,nouanunc  <vrbs  diBnQamix 
Gfua  non  cParnafifunt  iuga  grata  magis:     (nis 

%Jirginea  <vrbs3mquam$udtjs  notifitma  Thcebt, 
^OeraHellconiadurru^dtgna  Maronedomus: 


Me  qualem  cernisdias  has  virgtnem  inauras 

Sdidit^  comptu  hocpoffeplacercputat. 
Nefcio  quamplaceam  externis3necfcire  laboro , 

Hocfcio  me  cimpoffeplacere  meo. 

S    j         florcntina 


Flprentlnamatrona. 

A  \E,  Florentinusf^coniuge  iure  beatnnu 

Cenfctjjabentmores.quoddccct  ornnc  mei 
Formaflata  ett,qualemqf  vocant  vxortamjn  orc 
Miflpts  habttgrata  cu  mgrauitatc  lcpos . 


^PeBoranudapatentjfoli  at  tungendamarito$ 

£xe(ioalterius  dextraproterua  procuL 

Tatis  credenda  ett  Lucretia  fctltcet  oltrru 

Jn  Collatim  bafiaijjfefui. 

Virgo 


Virgo  Florcntlna. 

TJOs  florcnsflorcs  Vlorentia0flos  ctiam  ipfa 
Et  njcrm  quotfunL>  vrbium  ocellus,  habct. 

(farpere  qualcsfifa,sfit  mihi  in  hortulo  amorum>} 
C^uem  IJeniMipffds  f^erigaiMt  aqids: 


■^^ 


J^on  ego  vel  Gz/ar,vel /uppiter effe  labortnu, 

lura  licctpopuluille  det,i/lepolis. 
Seddicam  regum  maiefas  ccdc,  Deumquc^j, 

H&c  re(/emfacere,h&ceHt>otis  vna  Deumj. 

6    J  T  Mcdtola- 


M? diolanenfis  nobilis  matrona, 


T7  Xvultu  mores  fifts  eli  cofligerc^,  hxc  cH 
Os  oculos^animumyfcemma  digna  Deo. 

Fron-smaieflatisfc  toru<z  vt  tetricanonfit, 
Qur  metuatur  habef3cur  £$*  ametur  habct. 


Gejlu-s  non  altud ojuamfbiram  <rrandiasmentis 
Dat  tejiem^tqux  nilquodtriuiale  petat. 

Sedquales  rearhac  ^uultus  ingente  ^virorunu^ 
Foemina  vbi  hos  animos,  hos  habttufcL  gerit? 

T     z  Vtrqo 


Virgo  nobilis  Medlolanenfis. 

^Osquibm  externasvo/upeefi gratu^per  vrbes 

Errare,  ($  'vitnm  vmcre  tn  exfdio, 
TJosjerrasalio  mutantes  fble  calentes 

Totarunt  ZN^iliquos  orientis  aqu&: 


Dicite,  idem  vt  cunttis  ego  dicam  millibus ,  orbe  hoc 

QjiotJuntLfyOrbe  immo  quotc^  alw3atcfe  alw. 
Vtdifiifneahquam  quamcunfy  ingente  puettarru, 

H&c  cut  non  ipfa  certct  f$  ejfigicJl 

T   3         Ferra- 


Ferrarienfis  nobilis  matrona* 


A  Ttrahit  vt ferrummagnes,  Ferraria/ic quarru 
DM>dura  emollit  corda  adamante  magis. 

Crine  virosaurante  ligat,qturumpere  -vincla 
J^fonpotis  ett  qujfquanu.nonpotis  ipfe<velit. 


Emicat  ex  ocultsfulgor.ceufulmine  tnfkt, 
^uomuenum  attonita  itnefciaturbafui. 

V^fjtcfatis  hispollere  bonis,quogratia  mawr 
Sitform&Jounc  cultus  talishonoreiuuat. 

Mantuatm 


Mantuana  nobills  foemina. 

O  Vidprimum>quidpo(iremumfasdicere^){  tnlis 
^^  Jnceftt.faluoatLaodamia^viro. 
Quidtnmenhis  opus esl.quas geftas>bella  catenis? 
Credcaliudconiunx quo  ieneatur hab&t . 


Certantesauro^  pofttimultn  artecapdli, 
Nodautf tenduntretiamilleconu 

Quis  laqueis  nonille  velit^non  pofi?  abipfo 

ExolmfolitofoluerecuntinDco^        ^^ 


Veronenfis  foemina, 

V  'Ttaceam  clamant  capitis geftamina  qii&fm^ 
<Vnde  domojn  vultu  c&tera  &  orelegc^. 

Qre,  ipfi  quo  fimnonadfyernanda  tonanti, 
Sicon/ueto  homines  nunc  quoq^  morepetat. 


Adfpeculum  talisprodtbat  comta  capillosy 
Comtagena$,ntueosfemiadapertafimt$ 

Juha  non  tunc  cumpatnplacitura  vemret: 
Iret  atAgrippA  cumplaciturafuo, 

V     2  Tatauinn 


Pataulna  nobilis  matrona, 

Q  Jmodofaspetereeftfmon  eH,diuajnoleJluiru% 
Qua  nobis  ccelt  exparte  benigna  venis) 

^Tramite  quo  adterra*  magnodefccndis  olympo? 
oAn  quo  ^  ad  aAnchijen  (Jypriajuctajuurru? 


Sicoficcerte  eft,  Tatauljedmcema  curnanL» 
Curplacita  ante  aliasjunt  tibi,  Diuajomos  i 

Hac  ego:  cum  motis  leuiter  <vifa  ijla  labeuis 
Vtcere.Juno  meum  hic  qu&ro  rclittajoucm.3. 

y     i         Tlacentina 


<* 


Placentinafoemina. 

T  Inm&  ln  rnelle fit &fimt  harunujulce  venenunu, 
Et fiiapiemfaptens  effuge  amaritienu. 


oAh  qmtiens  dicesjaicft  teceperit  hamus, 
Het  mihiltbertas  vitatLpriflina  i>bi  es? 


JSIequaquam  atdtces.  captns  mage  £f  impenetrabis 
Vltro  te  in  poftfas  retia  raraplagas. 

Orabis  multts  onerari  gf  colla  catenis, 
Tlura^cumtuleris  plurimaferre  velis. 

Vicentma 


Vicentlna  nobilis  matrona. 


Q^ircealiojua^JEetaaut  prognata  potentib.  hcriis 
oAttineantteptdos  infuiamore  viros: 

Gramtnavirtutes  mihi(unt>  mihi gramwamorcs, 
Laufcfe  tlhbat&purapudiciti&. 


Qu:i  ego  non  metuam  ne  non  rettnere  maritunu 

£ualeamfnllum  hno  <velip(apctat. 
Forsdicesfultaennimialucfiduciafwcjiu? 

^{ullaprobam  vindeprobmtettmct. 


Scnai 


Senenfismatrona. 


r)  Vidte  nympha  colis)quid  comptos  peciine  crines 
"^^  Fiwis  acu?in  certa  quidftat  tone  locas? 
Deniq^quidtunica  vejlitammcedcrc  Coa 
Te  tuuat,  g?  Icnga  cyclade  ^verrere  humunu?- 


Crede  mihiquamuispelluceat  illa,nec  objfct 

Multum>quin  ueris  conJj?iciare  bonis. 
U^Qudatamenpofitaq^potesplm  njejleplacere^j: 

^uidformofa^rubesi  non  mthtjtco  viro. 

X    2        Virgo 


VirgoBononlcnfis. 

Qltibimandatn  ettpingends,  curapuelU, 

Qu&form&ante  almsfit  bonitutefuA. 
Jmttcam  hanc  Nympbamfj?irantem  crcdefiguram^ 
Exemplumcjf  iibi  htnc^non  almndepct^j. 


Jn  primifcfe  oculos,pi££or,defixus  adora, 

T>ulciaamara  ex  quis fpicuia  torquet  amor. 

^Poffe  negas  contra  h&c  defigere  lumina  lumen  ? 
^QempeetiamaficJo  hocvriertgnetimes. 

X    3         Matro- 


Matrona  Bononienfis. 


NTO/*'  eadem  ztati  cuwisfnt  congrua :  vcrgens 
Jn  fenium  hunc  habttum  conuenienter  habet. 

BelU9venufiarprocaxjamevtmembrvfypu4oris 
Gaudebam  apopulopratereunte  canu 


% 


Wttft 


Ef# 


Et  digito  oftendt,attonitus  cum  dtccrct,h&ceB 

6[ujifacit  induro  me  moriamoreprocm. 
L  audeplacete  ijla  iuuenes  nunc9tllafuerc~>.    • 
Eheu  quam  rarum>  quam  breueforma  bonum  es? 

Htfanica 


HMpanicamatrona. 

^^s4fn  'vbttergeminilaudanturpafcud  rcgis 
ZN^uptn  cothurnatos  qaudct  haberepedes . 

Gaudet  £$*  hoc  habitu,Galliat  qm  nulicc  nonfit 
Contcndi  dtgntts^  Gallicapalla  ttbi 


Dtcet  idem  oAufink  quacumcj,  cx  irbe ,  Tiritarmo 
Dtcct  tdem,  f$  nofiro  natapueilafoto. 

Deni^  dtcetidem  Cjcrmana,&  qwdquid  vbiqtit^> 
NympharumefltipfificmmeniUeplacct. 
J  T        Fcemina 


Fcemina  nobilis  Anglicana  fiue  Bri- 

tannica. 
P  R  axiteles  Vcnere,  <vt  natu  eB>  cumpingere  *veUet. 

Mtfit  eipulchras  Gr&cia  totafuas. 
De  quibmeximiaspofitafid^veficpticllas 
£xemplaadclarumftarecoegtt  opus* 


fh(jc  malhveftitam  Venereat  nuncfi  quis  amahit 

Traxitelesretki  ducerepojfemanu: 
Matrom  artificifludio  exprimat  ora  Hritanw, 

Cernere  qm  eH9  voti  (f  credite  vittor  erit. 

T     2  AUtrona 


Matrona  AnglicaLondinenfis. 

QSfvrbisnoftrodiutfksqui  mariab  orbcj 
Tradadm  Tiffiis  Saxonibufqjuit: 

^omine  nunc  <vno  atdtffigcns  totn  TSritanni, 
Hac  <vbipa  tricu  itfcemma  <vejle  domw. 


zAd  Tamefim  cuttu  hoc  Londinenfemq^  perzrbe 
oAmbulat,hoc ipfes gaudct\inirechoros. 

Etnon  immerito:  quid  emm  non  diuite  dignum  est 
Cenfuin  eo^  rofeis.quU  micatilla,<rems? 


Gallicamatrona  nobilis. 

txgdite  Troiana,  Galli,  vosftirpe  creatos* 
1  fhat  0*  ad  Thrygumfic  Smoenta  Vernts. 
Gjuifquis  es  infacilijhanc  qmduxifti^re  figurarru^ 
Culta  vbmam  eft  oculis  Cjpria  vifatuisi 


Q%ldi 


1{es operofafuitfateor^nudam  editamab  vndis 
Tmgere^negleSHs  collaper  <vdaccmis: 

^esoperofa  mage  at  comtam  fic  pmgere,qualis 
Vel patremexipfo  deuocctillapolo. 

Gallica 


Gallica  virgo  nobilis. 

^Elixquemvirgo  dignabor  Gallicaamor£j>, 

Sednonplebeia  virgo  ormndadomo. 
Ille>  inquamjelix,  &  ter%  quaterq^  beatw, 
Complexum  cums  nofter  amabtt  amor* 


tt4ntetorumpatruiHenn&is  in  vallthus  ibat 

Filtafic  carptumfloreajerta  Jouis. 
Varua  loquorjalis  cumfilaferoriafratri 

'Pangeref  ofcula  adhuc^uraq^  lunofuit. 

Z        Matr  o- 


Matrona  nobilis  Parifienfis. 


Yidme  defixis 'oculis \quidmente 'tueris 
Commota,  f$fuauem  ducis  amariciemf 
JEqmles  inter  tali  fpetkibilis  orz_j 
Incedofeftisficfum  operofa  choris. 


Ambrofiumdfbirant  qua  qua  mebra  inclyta  odore> 
Dulcimelle  etiam  dulcius  orafonantj . 

Fallorapisfierian  ^uelles^rofeis^labellis 
His  mifcere  tuos  qui  legis  ifiafauos? 

Z    2  Matrom 


Matrona  nobilis  Lugdunenfis. 

J2V  fexu  meliore  <velut  turpifiima  quondanu 
%es  habita  eB,mitrisjiredimiciaforentjj 

Si  tunicis  mankafic  matronalis  habetur 
Econtra  hichabitm ,  f$  mihimreplacef. 


V^am  quodmolle  ^viris  eneruatum^  vocatur, 
Omne  decensnojiro  idducitur  arbitrio. 

^uidquidideH,  totammea  verticecerne ^vetipfos 
Vfypedes>aliquam  &  dixeris  ejfe  Deanu. 

Z    3        Lottja- 


Lotkmngica  matrona  nobilis. 


XTO/z  egoplus  ^ueftcm.quamfarclum  veftis  amare 
Sueui,  longe  animofitfuror  illemco* 

Sedtamen  njtfarffo  veftisfic  veftemoueri 
Tojftputo  hac  Curij  fiigida  cordafenis* 


Vtdec&f  en  auro  Imens  gemmfcy  capilmsy 
TJtcinttus?  rugiscyctas  'vtipfafuis? 

G^ujfcjuis  es  hac  mUfrueristjaicum^ptnlla, 
Ircde  mihi  inmdu  non  alienus  eris. 


Virgo 


VirsbBurgunda. 


Q  Sdtbtts  athereis  gemina  deueCki  columba 
SpeButum  terras  venerat  alma  Uenus: 

lamtfeoculis geminipartes  luftrauerat  orbis^ 
Oppida  tam  Cypri,iam  nemora  Idalij : 


&£os  quotfe  cum  <vultu  nonindignataferena 

^ejpicttjn  reliquis  cernit  f$  effigiemhanc, 
^ProtinttsacreJlansJutto  (fperjingu/a  vifu, 

Veftitamadjpexit  me  hic  <vbiJcu/ptor  ait. 

a         Matrona 


Matrona  Belgica  primaria. 

"SfEftiscui^Jua  eft,  nosnobisquoddecetomnehoc 
Carpimm9ex  ipfis  <vfy  <vel  zArmenijs. 

Nec placitumcultum  Jemel  ^vfcj^tenemm.at  anno 
C^uioratmfuerat  mox  odwjuserit* 


Gfuem  moremfiqms  miratur,  cogitet  orhis 

Qupdplacet  hic  tvariashocjacereomneevices. 
Cernerefemperidem^tfitresgratifimaitandenu 

EHfemo^alternu illa  veltllaplacentj. 

a    z        Belgt- 


Belgicavirgo. 

§Itibi  Bandrenjem  volupe  eftfjteftarepuellanu, 

8t  nimiuspatriam  eft  eim  adire  labor: 
Sn  tibipr&fentipr&fenterru:  at  chartea  di  ces 
H&C  e£l,nimirumhancjj?em  dat  habere  Itber. 


Chartea  tota  quidem  eflyfedformaqm  oreprofeffa 

J\Qfdo(tfaperto ,  haudnilquo  capiaris  habet. 
(urcapiare  Wnen?  fatis  eftpotuijfe  videreu: 
^uifa  (apisdulcemhanceffugeamariciem^. 

a    j       ^Braban- 


Brabantina  foemina. 

TlSt  ^Brabantin&.quam  demiraris3alumna 
Terr&^  *vbi  habespelagi  cernere  in  amne  <vices* 

Gfuampatri&  quotiens  (patiantemmargtnerip^ 
Seuformofa  Tethisfeu  Galateavidci: 


^Protmus  &quoreisreddunturfluBibus^fe^j 
Humano  ^vincipojfe  nitoredolent->. 

IJllacfepoH  cjuauis  certef  degentepueU&  huic> 
Cuicenfu  cedunt  depotiore  De& 

Holandica 


Hollandicafeu  B  ataulcafoemina. 

J^Vro^argento ,  &re>  aut  mutnntismercihush&c  efl 
Mercem  alijsfociofcemina  iuntkitoro : 

^RJjenum  vbipurpurei dulcem  contrifat  amaror 
^Equoru^  <verfis  currerecogitaqm. 


S/c  rui[urafuas,cognata$  ireper  vrberru 
Cernitur^njultu  cunfhihilararefuo. 

Vultu,millenoM  quem  demeliore  lepor&s, 

QuemtLtrigainfedit  cum  Charttu  alma  Venus. 

b  AncilU 


AncillaBelgica. 


P  T^odeofic  leuiterpofitis  ancilla  capillis, 

^BeWica  <vicinoquaiacet  Oceano. 
JsTeue  morer  dominam,genmirritabilenamfuwt> 
Hic  domin&>cultahacJum  ratwnefatis. 


Qutdveadeoprofitfumofe  additTu  cuhna 
Siformam  certem  velle  iuuare  meanu? 

Mercatafaciem  qu&rant fibifraude  puella 
Tatriciwpfa  ego  yelficfum  operofa  nimis. 

b    2         Fcemina 


Foemina  Aquifgranenfis. 

J^Ntealias  habuitcaram  quarn  (Jarolws  vrbenLj, 
Dux  quotfuwL>,cjUot  eruwL>,  Carolw  ilie  ducu: 

'Romani  tmperij  vrbs  non  vltimaj  qu&  dtadema 
Jn  regnaturumeHponerefitetn  caput: 


H&cpatria  eB:hicfunt  vir.nati,  &  rutrinqfparetes, 
Qmsvejlis ratwh&c omnibm  <vnaplac&t. 

St  curenu>an>qu&  tot  caris  culturaprobatury 
Nefcio  quohanc veniens  hofbesab  orbeprobet? 

b    j  Sponft 


Sponfa  Colonlenfis. 

5  CilicU^antiqui  aAgrippina  Colonia,  moru 
^Teferuantem  &tiam  hacparteybeatuAoces; 
Jn  quafacratat  cumfic  ducaturadara* 
oAccepturafuam  gf '  fponfa  daturafidem^. 


^PedJora  aperta  illamfcte  monftraremarito 
IJelle  reorjufto  <vt  conficianda  viroy 

Hocfeiatexemploynil  illum  clamfibtjoabendunu 
^B^esfmperplena  h&cfu(f?icionis  erit. 

Foemina 


FoemiriaBelgka  Flandra. 

l^Ormofa  <vt  *Pallas,Juno  ^formofiorilla 

Vincuntur.pr&fensfifiet  alma  Venm: 
^Belgicafic  aliaspulchrasformofior  exit, 
Cum  'vcnta  quodfit  ^Aufonis  orajua: 


Tace  tuaquodfit,(fermaniay(faUia3(ju^ 
Diuiderisparuo  terra  Britanna  mari. 

Ceditis,an  dicendamihifub  iudicecaujfa  ett? 
Sitfantjn  nofiro  dummodo  &  hocceforo. 

c         Matrona 


Matrona  nobilis  Hungarica. 


\J[Ilitu  meus  aftdue  belli^domifed 

Vtrrarwftnonjam  htcmthtjallor,  ertt. 
Contemplare  vt  me  deceat  quo  mducaramtclnJ 
Hicfatis,  <vt  pofit&  nonfnelegecom&: 


^Venturo  cupio  nam  dum  me  ornare  martto^ 
UixmundaeFi  oculis  mundttia  tpfa  meis: 
Dignus  &  tUe  foris  fexcenta  incommoda  dum  fert, 

Inplactto  quiferwmtQre  domi. 

c     2         ^EohC" 


Bohemica  Pragenfis  femlna, 

WJctn  regali  Traga  notifmm  vrbc^ 

EH  habitm.qmbm  eft  iam  rnodo  nota  Venus, 
Stmplexconfiteor  ,pro  re.cenfu^domo^ 
Jlletnmenfocij  &  pro  rattone  vzri. 


Tlebeio  quicumnatusfit  fanguine,plebs& 
IpfequQ^acftmgens  redderecuifyfuwnu: 

T?  olcapitalfacianufiin  cultum  vertert  tenterru, 
Qupdfudorefuo  comparatitte,meui7u. 

c    3         "jBobe- 


Bohemicamatrona. 

VErpetua  cingunt  quaregnaTSohemicaJylufa 

Clauduntur  muris  £$*  'veluti  illafuis: 
%)er^entis  matrona  miiam  exofa  choreat, 
oAuerfins  gratum  qutdqmd^  antefuiu 


Sicornatafatisproditfme  iRapetitunu 
De  veteriegreditur  <vina  meracacado? 

Stuefamemfedent  qu&emptura  obfonia,more$ 
Nempe  hejiernaalws atc^hodternapetuntj. 

TqIq- 


Polonica  matrona. 

Q  lue  domi  eHfme  eft peregrinaper  Jiquora  vettw 

Ltgneo  equo  impoftum^  <vt  nauita  mut  ot  onus, 
Qm  mihigentili  datm  elt  deplebe  maritus^ 
l^egia  quaprincepsfceptra  Tolonushabet: 


Hoc  cultu  incedot  ^valeant  dtuerfafequentes: 
Qui  modus  in  reliquis3hac  quoc^parte  iuuat. 

2slempeipfaabjumamrem,rem  dum  quxrere  quams 
Virfatagit^fom^irjatagitq^  domt? 

d  Linonica 


Liuonicafcemin& 

C\  %natu  hoc  noflrisfiqua  in  regiombm  iret, 
Qms  rifwspopulo  pr&tereunte  daret? 

j\Qon  quia  dedeceM  nmiurru9cum  regiaresjitj 
Iudiceme.augufio  hoc  ^vefiis  honore  tegi: 


Sedquiararafilentftupidiperfingula  <vulgi 

'Trimoreerrantes  ore  ciere  tocos. 
^B^araMquarru^nam  filonginqua  adiecerojn  illis 

3^anfuntj9longtnquo  haudpattiatrttalocoh&c* 

d    2         Liuo- 


Liuonica  foeminaprimaria. 

"y "  Surpandattmpedibu*  Liuonia  non  eB? 

<±At  natum  certe  hac  cernercgente  licct. 
Jn  cjuaftingenuum  externamirahere  'vultum^ 

Bditanon  viliftirpe  piiellafui. 


Hoc<£  virofociata  habttu  demoreparentis 
ZJtorforte  etia-m  deindefuturaparens. 
3\(jcmihiturritocapiteeHprodirepudoriy 

Siiurearbitrium  eHinfua  cuifyfuunu. 

d    3        Liuo- 


Liuonlca  matrona  ex  nobilitatc 

(")  Virijum  tenuitabuUm  dum  infpeflo pridrejjac 
~  Gjjuamcredunt  atij  haud  ridiculameffemitms*, 
Hicmodtcofateor  diduxi  labracachinno, 
%Jelatum  cernem  hac  ratione  caput: 


Qui  modm  extremm  ornatwfieffefin  Jndis* 
Cauffa  admirandi  tamperegrmaforet, 

Orbefedin  noflro  taticumfcemina  cultu 
Gaudeatjnuitirifwin  ora  <venit. 

Mofcouica 


Mofcouicafoemina  prlmaria. 

\KOfcouicis  mos  cH  ve/lem  hanc gejiarcjpuellis, 
QuarumtampuppaJ  dextera  Cypris  habet \ 

Tellita  in  qua  quodfunt  pleraqffic  rigor  orbis 
Hlms,  gf  Tlore&fubdiiaregtiambentji» 


CAtera ,  colbt^ere  efl  quodde  pr&fente  jigura, 

Gratafatis  merito  commodttate/ua  eft . 
Commoditate^,  aio  ?  tmo  ^  maiefiatedecora  ett, 

Qualem  'vixfimilem  Gallta  culta  dabit. 

e  Carnd- 


Camilla  Turcici  Impcratoris  filia. 

X>Atreferox>&  patrepotem  hocdicitur  orcj 

Interfcemmeos  ire  CamiUa  chcros. 
2\Qon  ea  Jma^onio  qu&  prdia  more  QtmilU 
Dtim  ciet,  &  Turnapro  duce  bellagent 


Mafculam  ab  ore  animam  t  enues  effauit  in  auras , 
^Turcarumfummoatnata  Camilla  ducc^. 

Gcceferos  animosfexu  <vt  non  occulattpjo: 
Dt  bene:propuero  h&cnatapuellafuit. 

£     z         Scor 


ScortumTufcicum. 

^^Smiraremeo  ficultufiiperuenioauro^ 
6t  reliquismundm  qu&  muliebrisamat, 

^uamuis de noftraexterna  *vel gente pueliam; 
Sic  it  amatcri  ciu&placiturafuo  efl. 


Vtrgo oculisfi  compta[uis,($fordida  non  efi 
St  cjua  maritale  eHferrefueta  iugunu: 

L  audanturfedmefas  eli  curatius  vti 
Formajncertns  *vt  hac  detineaturamor. 

e    3  fcemina 


FoeminaPeniukna. 

Jj^Tdos  dum  medijs  qu&rit  TeU&vts  in  Jndis, 

^J^epopuh  infecTu  (editionefuu 
ISIecjuicjuam  laudenu  hanc&uo  certauitauorUfru 

Trtir/pere*  vt  tantas  orbi  apcnrct  opes. 


*Perui&  cjuantas  noftriin  regiombus,aurunij 
Gemmarum  %$  <vulgo  qu&genus  omneferuntj, 

V^func  hominum  nuper  reclufere  *vfibus,  'vna  hoc 
Qum  vejlisfexuin  deterioremodo. 

S.  Ca- 


S.Catliarin#  moniatis. 

Tj^Ilia  regis  eratformacj^  £$*  moribus  ejjc^j 

Digna  ante  mquales  Jilia  regis  erat. 
JntuCki  nobis  qtu  virginitate  pr&iuit 
Stfocij  <voluit fyernere  iura  tori. 


Non  quia  damnarisiufticonnubialecii 
Error  qui  multosperniciofus  habet: 

Sedquia  coniugij  cenfebat  legefolutas 
Libermsfummopojfe  vacareDeo. 


D.TSrigit- 


D.Bri£ntt£ordo. 


^lnea  me  dec&t,  £$*  cineri  conformls  amifftts: 
fflu&  fapk  >exe>nplo  *viuerc  difce  meo. 
D/Jce  vacare  hymnis,  everbtffeprecantibus  i)ti 
Jn  magm laudesfmper  gjf  ire  Dei. 


SHaliquidpedibus  terereh&cJqu&  mundus  adorati 
Qft&cfc  optatvotiscAteraturbafiis. 

Brigida  nojiri  auttorgaude  ordrnis,  ^faue  olympo. 
J^unc  quotfe  vejlttu  qu&teimitentur  habes. 

f    2  Ordo 


Ordo  monialium  albatarum  v  elis 

atratis. 
Q\Andida  tota  mihieli  vejiis^niueoj^colore^ 

Teftor  &?pjame&  donapudicitu. 
Solum  atro  tegttur  <velo  caputiimmemor  <vS  /?o> 
SimJortis>cums  meiubet  ejje  Deus. 


De  relimo  a^m^reces^mnt^cbor,^ 
etpalminolirumfmtjerefempero^. 

<Da  SetisMq^  "  celebrammjupphce  cantu, 
Scandamtts  ccelt  tem^la  beatatu,. 


s£orotl$  mercedc  fcruicntium  ordo 

focmincus. 
A  Trata cft  njefiisycolorefl  hicapttts amanti 

ALwrcto  jpedicasarte  parare  dapes. 
Duraq  resfatecrfe?npcr  mcerentibm  effe^j 

Tr&flo  eftfed  Chnfii  h&c  omma  ^vmcit  amor. 


JEtherio  ille  dabttmercedem  dcbitamolympo: 

Junget  £5*  afanBisfuncrc  virginibus. 

Ftlices  quibus  efifas  immortaliaaptfa, 

lUa.qu^  extguo  temporefudat  ope^j. 

Beguina 


Beguina. 

♦ 

"y '  Sftalesolimfacrisper  luftraperattis 
c£istriafe  poterant  confociare  miru. 

NamcL  decemprimos  dtftebant  riteper  annos, 
(flu&facerent  annisfacra  quoc^  inde  decerru. 


Qu&  reftantper  luftra  duoftatafefta  docebantj, 

Et  iam  legitimifas  era  tejfe  tori. 
Nuberenosquouismomento,qualibef  hora 

"Tofumm^legumliberaturbafumus^        # 

£jOSca 


£ 


Laica  ordinis  S.Catharinse. 

« 

\f  Jrnnitas  ihfamthi eH funt  ^virgtnemores 
DimiiGonuentemmo  rtbm  eflq^pudor. 

^Dtftdeatcj  adeo  ne  ^vefiis  mortbm}alba  esi 
JpfrftfU°fc  &*  niueafimpltcitat  e  piacct, 


J\(jmtrum  inmclisaptm  c  olor  illepuellis: 
Quis  vacuo  volupe  eH  vfcL  iacere  toro. 

Dumtejponfo  oltmpottamur,  Chrtflejpetito^ 
Qum  nonmerito  eB>inretfc  ^ilisamor. 


Ordo 


Ordo  mulierum  poenitentium. 

p  OSnitet  ofquidmiferis  modo  creditur,ij)(um  *vt 

*l)elatum  hoc  clamat  qua  licct  vfcL  caput. 
Tcenttet  anteatt&quQcun^  m  crimim  vit^ 
Vitzziam£  itmat  nosmeliorefrut* 


^Tec  quia  n;efiitus  quams  efl  candiduf,  tf  nos 

Jntegr&pura  <virginitatefumus: 
Sednotat  hic  habitm  mundatas  crimine  ab  omni 

Qlim  mm  mritis  nosfore  Chnjle  tuis. 

g    2        Ckirs 


Clar^  virginis  oido» 

C]  Larafui  exemplum*  Franafco  edoih  magiflro 
G^ui  Francifianis  iurafacrata  dedit: 

Hoc  habitu  incedendiittis>qu&mnqt  perofi 
M.ecum>qu&inpreciocara(femundus  habct* 


oArderent^vnifimper  feruire  tonanti 

Hmc  cuperent  no£lu  huicpojfe  vacare  die. 
Ha  mifer&,qu&  non  exemplojpernere  noftro 
.   Audetis  ^vana^s  quas  habet  orbis  opes* 


Cano- 


Canonicafacercfos» 


5  AcrU  hoc  habilu  inccdit  deuotafkcerdos, 

Virginemtenero  cuimtet  orepudor: 
Compoftam  mentem  nimirum  exornai  amicim 
Compofitus  ,  pofta  &  nonfne  legecoma. 


Longapuellares  nec  dedecefinftitagrejfits, 
vjmffmea  curfit  velleretexta  rogas? 

Simplicitatem  animi  demonUrat  labe  carentis, 
Et  cati&pandit  dona  pudicith* 

i  3 


CORIUGENDA. 

C  4 .  Ver/it  $ .  noftr&  pro  noftra. 

F.£.  yerfujf.  Sueuha  pro  Suettis. 

K2.  verfu2.  fcdulitatis  profetteritatis. 

M.f.Infcriptio     Baftleenfts  proBaftiienfts. 

0^2.  verfu.6»     vifafalopltmmaprovifafoloplttrima. 

T.3.  verfu7.  quacum^proquamcun^. 

V.4.  verfuS,  ferrevoles  pro  fenevelis. 

Zt2.  verfuf.  Amhrofium  pro  Ambroftum^ 

S.r.     verfttj.    accedeproaccev.de. 

d>4.  verftif.  extremis  proextremuc, 

e.$.   verfui,  ft  culta  profi  cultu* 


FR  A  N  C  O  FO  R  T  I 

AD     MOENVM,  IMPENSIS 

SIGISMVMDI   FEYRA* 
bcndii. 


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